Podcast appearances and mentions of Wayne Wang

“A Mother can never give up hope for her own children.” The Joy Luck Club (1993) directed by Wayne Wang and starring Kieu Chinh, Tsai Chin, France Nuyen, Lisa Lu, Ming-Na Wen, Tamlyn Tomita, Lauren Tom and Rosalind Chao Next Time: We Were Soldiers (2002)

Au sommaire de cette spéciale cinéma asiatique : Retours sur les dernières sorties Carlotta Films, à savoir, La Vengeance de la Sirène (Toshiharu Ikeda, 1984), Life is cheap... but toilet paper is expensive (Wayne Wang, 1989), Ichi The Killer (Takashi Miike, 2001), L'Ombre du feu (Shinya Tsukamoto, 2023) & Full River Red (Zhang Yimou, 2023). Bonne écoute à toutes et tous !

Wayne Wang's "Smoke" doesn't look like a Christmas movie, sound like a Christmas movie or ever feel like a Christmas movie. It really isn't, but the final fifteen minutes of this terrific ensemble film features a moving and poetic Christmas story that makes it worthy of inclusion on this show (hey, it has more Chrsitmas in it than Disney's "Babes In Toyland"). The film stars Harvey Keitel, William Hurt, Forrest Whitaker, Stockard Channing, Ashley Judd, Giancarlo Esposito, Harold Perrineau and Jared Harris. It also has a distinction of winning an obscure MTV Movie Award for a category that was never repeated ever again. Also, Kerry talks about three movies from "1,001 Movies You Must See Before You Die."  Book movies covered: "Smoke" (1995) "Deseret" (1995) "The Phenix City Story" (1955)

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​Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues    Maureen Gosling, filmmaker and film editor, discusses the films of noted documentary director Les Blank (1935-2013), which whom she collaborated for several years, along with her own career, in this interview with host Richard Wolinsky.  A Retrospective of the films of Les Blank can be seen at Pacific Film Archive June 7 to July 27, 2024. Les Blank is best known for “Burden of Dreams,” an award winning documentary detailing the efforts of German director Werner Herzog in making his film “Fitzcarraldo” in the Peruvian jungle. Les Blank's work, though, focuses on the music and culture of the New Orleans and Louisiana, and the American South, with forays into the lives of several musicians, including rock legend Leon Russell. Maureen Gosling worked as a sound recordist and editor (and co-filmmaker) on several of Les Blank's films. Among her own films are There Ain't No Mouse Music: The Story of Chris Strachwitz and Arhoolie Records and The Nine Lives of Barbara Dane. Complete 45-minute Interview.     Paul Auster (1947-2024), in conversation with host Richard Wolinsky, recorded October 2, 2002 while on tour for his novel “The Book of Illusions.” Second of two parts. This segment of the interview has never aired. Paul Auster, who died on April 30th, 2024 was a world-renowned novelist, memoirist, and film-maker whose works were translated into forty languages. His career as a writer began with a well-received memoir, The invention of Solitude in 1982, and took off in 1987 with the publication of three connected novellas titled The New York Trilogy. His fame and success grew over the following years. He moved into film-making with the screenplays for two movies directed by Wayne Wang, Smoke and Blue in the Face, and then wrote and directed his own film, Lulu on the Bridge. Complete 48-minute Interview.   Review of “The Lehman Trilogy” at ACT Toni Rembe Theatre through June 23, 2024.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  See website for highlights from the 10th Annual Bay Area Book Festival, June 1-2, 2024. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  Upcoming readings to be announced. African American Art & Culture Complex. See website for calendar. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Lehman Trilogy by Stefano Massini . Adapted by Ben Power, directed by Sam Mandes, May 25-June 23, Toni Rembe Theater. Aurora Theatre  The Lifespan of a Fact by Jeremy Kareken & David Murrell and Gordon Farrell, June 21-July 21. Streaming:  July 16-21. Awesome Theatre Company. Por La Noche (By Night), October 11 – 26, 2924. See website for information. Berkeley Rep Galileo, World Premiere Musical, book by Danny Strong, with Raul Esparza, extended to June 23, Roda Theatre. Mother Road by Octavio Solis, June 14-July 21, Peets Theatre. Berkeley Shakespeare Company. See website for upcoming shows. Boxcar Theatre. The Speakeasy. Must close June 29, 2024 Brava Theatre Center: See calendar for current and upcoming productions. BroadwaySF: Company, June 5-29, Orpheum. Mrs. Doubtfire, July 2-28. Girl from the North Country, July 30-Aug 18, Golden Gate. See website for events at the Orpheum, Curran and Golden Gate. Broadway San Jose:  Peter Pan, June 25-30. California Shakespeare Theatre (Cal Shakes). As You Like it, September 12 – 29. Center Rep: Cabaret, May 26 – June 23, Lesher Center for the Arts. Central Works  Accused by Patricia Milton, July 13 – August 11. Cinnabar Theatre. La Boheme June 21 – July 5. Club Fugazi. Dear San Francisco ongoing. Check website for Music Mondays listings. Contra Costa Civic Theatre In Repertory: Hamlet and Rosencranz and Gildenstern Are Dead, September 7 – 22. Curran Theater: Sesame Street Live, Say Hello, June 7-8; The Cher Show, June 19-23. Custom Made Theatre. In hibernation. Cutting Ball Theatre. See website for upcoming shows. 42nd Street Moon. Bright Star postponed. Golden Thread  Conversations with Artists via Zoom and Howlround TV, through June 13, 2024. Hillbarn Theatre: Always…Patsy Cline, August 22 – September 15. Lorraine Hansberry Theatre. See website for upcoming productions. Magic Theatre. Garuda's Wing by Naomi Iizuka, June 5-23. Marin Theatre Company Yaga by by Kurt Sondler, October 10 – November 3, 2024. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) tick..tick..BOOM by Jonathan Larson, through June 16, 2024. Ride the Cyclone by Jacob Richmond & Brooke Maxwell, September 20 – October 20. Oakland Theater Project.  Ghost of King Created by and featuring Michael Wayne Turner III June 6-23, 2024. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Pear Theater. Chaplin and Keaton on the Set of Limelight  by Greg Lam, June 28 – July 21, 2024. Presidio Theatre. See website for complete schedule of events and performances. Ray of Light: Everybody's Talking About Jamie, June 1 – 23, 2024. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse. The Glass Menagerie by Tennessee Williams, May 2 – June 15. SFBATCO I, Too, Sing America, Grace Cathedral, June 13-15. See website for upcoming streaming and in- theater shows. San Jose Stage Company: Dirty Rotten Scoundrels.  June 5 – 30. Shotgun Players.  Best Available by Jonathan Spector. May 18 – June 16. Website also lists one night only events at the Ashby Stage. South Bay Musical Theatre: Mary Poppins, the Broadway Musical, May 18 – June 8. Saratoga Civic Theater. Stagebridge: Shady Manor, a musical play by Prescott Cole. June 14-16. 2501 Harrison St., Oakland. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Four Play by Jake Brunger, June 13 – July 7, 2024. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. Being Alive: A Sondheim Celebration June 5-20, Mountain View Center for the Performing Arts.. Word for Word.  See website for upcoming productions. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org The post Bookwaves/Artwaves – June 6, 2024: Maureen Gosling, The Films of Les Blank; Paul Auster Part Two appeared first on KPFA.

​Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues    Aya de Leon, the Interim Program Director of the Tenth Annual Bay Area Book Festival, June 1-2 in various locations in Berkeley, talks about this year's festival with host Richard Wolinsky. Aya de Leon is the Poet Laureate of the City of Berkeley. She is a novelist and poet who currently teaches creative writing at U.C. Berkeley. She is the author of ten books, the most recent of which are the adult novel, “That Dangerous Energy,” and the young adult novel, “Untraceable.” Originally a hip hop artist, Aya de Leon is also a noted local activist, and the acquiring editor of Fighting Chance Books, the climate justice fiction imprint of She Writes Press. She organizes with the Black Hive, the climate and environmental justice formation of the Movement for Black Lives. Complete Interview.     Paul Auster (1947-2024), in conversation with host Richard Wolinsky, recorded October 2, 2002 while on tour for his novel “The Book of Illusions.” Paul Auster, who died on April 30th, 2024 was a world-renowned novelist, memoirist, and film-maker whose works were translated into forty languages. His career as a writer began with a well-received memoir, The invention of Solitude in 1982, and took off in 1987 with the publication of three connected novellas titled The New York Trilogy. His fame and success grew over the following years. He moved into film-making with the screenplays for two movies directed by Wayne Wang, Smoke and Blue in the Face, and then wrote and directed his own film, Lulu on the Bridge. There are three Paul Auster interviews in the archives. In this first interview, he discusses his film work, goes into depth about both The Book of Illusions and his previous novel, Timbuktu, much of the interview centersd on Lulu on the Bridge and the two Wayne Wang collaborations. The second interview was conducted in  2008 for Man in the Dark, and finally in 2017 for his masterpiece, 4 3 2 1. Currently, all three films, the two with Wayne Wang and Lulu on the Bridge, can be rented via Amazon. From time to time, all three show up on the Criterion app. Complete 48-minute Interview.   Review of “The Glass Menagerie” at San Francisco Playhouse through June 15, 2024. Review of “Galileo, A Rock Musical” at Berkeley Rep Roda Theatre through June 23, 2024.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  10th Annual Festival: June 1-2, guests include Joan Baez, Naomi Klein, Viet Thanh Nguyen, Jonathan Lethem. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  Upcoming readings to be announced. African American Art & Culture Complex. See website for calendar. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Lehman Trilogy by Stefano Massini . Adapted by Ben Power, directed by Sam Mandes, May 25-June 23, Toni Rembe Theater. Aurora Theatre  The Lifespan of a Fact by Jeremy Kareken & David Murrell and Gordon Farrell, June 21-July 21. Streaming:  July 16-21. Awesome Theatre Company. Por La Noche (By Night), October 11 – 26, 2924. See website for information. Berkeley Rep Galileo, World Premiere Musical, book by Danny Strong, with Raul Esparza, extended to June 23, Roda Theatre. Berkeley Shakespeare Company. See website for upcoming shows. Boxcar Theatre. The Speakeasy. Must close June 29, 2024 Brava Theatre Center: See calendar for current and upcoming productions. BroadwaySF: Company, June 5-29, Orpheum. Mrs. Doubtfire, July 2-28. Girl from the North Country, July 30-Aug 18, Golden Gate. See website for events at the Orpheum, Curran and Golden Gate. Broadway San Jose:  Peter Pan, June 25-30. California Shakespeare Theatre (Cal Shakes). Terrapin Roadshow, June 1-2; As You Like it, September 12 – 29. Center Rep: Cabaret, May 26 – June 23, Lesher Center for the Arts. Central Works  Accused by Patricia Milton, July 13 – August 11. Cinnabar Theatre. La Boheme June 21 – July 5. Club Fugazi. Dear San Francisco ongoing. Contra Costa Civic Theatre In Repertory: Hamlet and Rosencranz and Gildenstern Are Dead, September 7 – 22. Curran Theater: Sesame Street Live, Say Hello, June 7-8; The Cher Show, June 19-23. Custom Made Theatre. In hibernation. Cutting Ball Theatre. See website for upcoming shows. 42nd Street Moon. Bright Star postponed. Golden Thread  Conversations with Artists via Zoom and Howlround TV, through June 13, 2024. Hillbarn Theatre: Always…Patsy Cline, August 22 – September 15. Lorraine Hansberry Theatre. See website for upcoming productions. Magic Theatre. Garuda's Wing by Naomi Iizuka, June 5-23. Marin Theatre Company Torch Song by Harvey Fierstein, May 9 – June 2, 2024. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC) tick..tick..BOOM by Jonathan Larson, through June 16, 2024. Ride the Cyclone by Jacob Richmond & Brooke Maxwell, September 20 – October 20. Oakland Theater Project.  Ghost of King Created by and featuring Michael Wayne Turner III June 6-23, 2024. Odd Salon: Upcoming events in San Francisco & New York, and streaming. Pear Theater. Pear Slices, new works through June 2. Presidio Theatre. See website for complete schedule of events and performances. Ray of Light: Everybody's Talking About Jamie, June 1 – 23, 2024. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse. The Glass Menagerie by Tennessee Williams, May 2 – June 15. SFBATCO I, Too, Sing America, Grace Cathedral, June 13-15. See website for upcoming streaming and in- theater shows. San Jose Stage Company: Dirty Rotten Scoundrels.  June 5 – 30. Shotgun Players.  Best Available by Jonathan Spector. May 18 – June 16. Website also lists one night only events at the Ashby Stage. South Bay Musical Theatre: Mary Poppins, the Broadway Musical, May 18 – June 8. Saratoga Civic Theater. Stagebridge: Shady Manor, a musical play by Prescott Cole. June 14-16. 2501 Harrison St., Oakland. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  All's Well That Ends Well by William Shakespeare, May 23 – June 2. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand. TheatreWorks Silicon Valley. Being Alive: A Sondheim Celebration June 5-20, Mountain View Center for the Performing Arts.. Word for Word.  See website for upcoming productions. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org The post Bookwaves/Artwaves – May 30, 2024: Aya de Leon – Paul Auster appeared first on KPFA.

Paul Auster (1947-2024), in conversation with host Richard Wolinsky, recorded October 2, 2002 while on tour for his novel “The Book of Illusions.” Paul Auster, who died on April 30th, 2024 was a world-renowned novelist, memoirist, and film-maker whose works were translated into forty languages. His career as a writer began with a well-received memoir, The invention of Solitude in 1982, and took off in 1987 with the publication of three connected novellas titled The New York Trilogy. His fame and success grew over the following years. He moved into film-making with the screenplays for two movies directed by Wayne Wang, Smoke and Blue in the Face, and then wrote and directed his own film, Lulu on the Bridge. There are three Paul Auster interviews in the archives. In this first interview, he discusses his film work, goes into depth about both The Book of Illusions and his previous novel, Timbuktu, much of the interview centersd on Lulu on the Bridge and the two Wayne Wang collaborations. The second interview was conducted in  2008 for Man in the Dark, and finally in 2017 for his masterpiece, 4 3 2 1. Currently, all three films, the two with Wayne Wang and Lulu on the Bridge, can be rented via Amazon. From time to time, all three show up on the Criterion app. This interview was newly edited in May 2024 and the entire interview has never seen the light of day until now. The post Paul Auster (1947-2024), “The Book of Illusions,” 2002 appeared first on KPFA.

Our exit today has us packing up to Beverly Hills to begin our new lives. No we aren't talking about the Beverly Hillbillies. This week, we are discussing Anywhere But Here, written Alvin Sargent, based on Mona Simpson's book and directed by Wayne Wang. And there is lots of talk of the two stars, 90s favorites Susan Sarandon and Natalie Portman. Plus, Tripp and Ross talk about the long career of the great Alvin Sargent, other parent-child movies, the rough history of this movie, Mona Simpson's surprising family connections, 90s weepy movies, CSI, and, of course, some great character actors. Tripp's recent episode of The Great American Pop Culture Quiz Show. Powered by RiversideFM. Theme Music by Jonworthymusic.

Ever pondered about the magic and allurement of holiday movies? Buckle up, as we embark on a nostalgic ride back to the classic holiday movie, "Last Holiday," headlined by Queen Latifah and LL Cool J. From its release, and mixed reviews, to its status as a holiday staple, we leave no stone unturned. Our personal verdicts on the film may differ significantly, but rest assured, we respect its festive season popularity regardless.Prepare to be taken on a journey as we delve into the film's direction under Wayne Wang and its mixed bag of reviews. Could Queen Latifah's performance salvage the predictable plot? We spill the beans. We'll also shed light on the evolution of holiday movies and Hallmark's commendable efforts towards diversifying its content to reflect our multicultural society. Trailers, predictions, and ratings on Rotten Tomatoes and IMDb? We've got it all covered.And just when you thought it couldn't get any better, we switch gears to the captivating world of Hallmark Christmas movies. Why are they so popular and how are they raking in so much revenue? Let's find out together. And yes, we also touch on the fun-filled Christmas Con, a haven for all Hallmark movie fans. So whether you're a devout fan or you absolutely hate "Last Holiday" or are just a holiday movie enthusiast in general and love hating on certain movies, tune in for some heartwarming discussions, bickering, arguing, and maybe some insightful analyses, and a few laughs along the way.Do You Remember Liking This Movie?

Noirvembre se termine avec deux films de bébés qui sont gone: Gone Baby Gone, réalisé par notre Ben national, et High and Low, réalisé par Akira Kurosawa. Aussi au menu: Life is Cheap... Toilet Paper is Expensive de Wayne Wang, Sunset Boulevard de Billy Wilder, Monarch: Legacy of Monsters et Please Don't Destroy: The Legend of Foggy Mountain! En bonus également: un gars qui crie pénis à répétition dans le background!

Esta semana en nuestro podcast, exploraremos la provocadora película de Wayne Wang, "Life Is Cheap... But Toilet Paper Is Expensive". Nos embarcaremos en un viaje a Hong Kong a través de los excéntricos personajes de un peculiar barrio. "Puede que seas el jefe de tu propio camino, pero el camino que tomes puede que no sea de tu propia elección", es una de las lúcidas reflexiones que un personaje comparte. Acompáñennos mientras desentrañamos las capas de esta obra cinematográfica y examinamos el intrincado entrelazado del destino y la autonomía en esta particular pieza de la filmografía de Wang.

Bed and Breakfast owner Wayne Wang has spent nearly all his life living in and exploring Sun Moon Lake. He tells I-C-R-T's Hope Ngo why he remains entranced by the area and how best to explore the lake, which international media once described as one of the most beautiful bike trails in the world.

Welcome to The B-Side from The Film Stage. Here we usually talk about movie stars! Not the movies that made them famous or kept them famous, but the ones that they made in between. Today, we talk to a music supervisor! And one of the great music supervisors! Randall Poster! We discuss his new film Priscilla, how working with Sofia Coppola compares to working with someone like Wes Anderson, and - most importantly - how they chose what music would be in the movie. There's also talk of Poster's early career. There's the film he co-wrote (A Matter of Degrees) in 1990 and the early indies he made with Christine Vachon (including Office Killer). There's also Maid in Manhattan, directed by past guest Wayne Wang. Finally, Poster worked on the criminally-underrated indie Diggers, which you should watch. This is a fun, special episode about the kind of crew member who rarely get the credit they deserve. Poster is at the top of his craft, with premier work in theaters now (Priscilla and also Killers of the Flower Moon). Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor. Enjoy!

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Artwaves Wayne Wang, director of such films as “Chan is Missing,” “The Joy Luck Club” and “Smoke,” in conversation with host Richard Wolinsky. In this hour-long conversation, the noted filmmaker discusses, in depth, several of his movies, talks about his origins as a director, his work on Hollywood films like “Anywhere But Here,” “Smoke,” and “Maid in Manhattan,” his difficulties filming in China, his view of Chinatown and Chinese families, and much more. Special thanks to AJ Fox, Kate MacKay and Susan Oxtoby from Berkeley Art Museum Pacific Film Archive. BAMPFA Website and schedule.   Review of “A Chorus Line” at San Francisco Playhouse through September 16, 2023.   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  Event calendar and links to previous events. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.  Monthly Event Calendar. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Hippest Trip: The Soul Train Musical,  August 25 – October 1, 2023. Aurora Theatre  Born With Teeth by Liz Duffy Adams, September 1 – October 1. Awesome Theatre Company. Check website for upcoming live shows and streaming. BAMBDFest. Festival in Celebration of Black Arts and Culture, through August  31, BAM House (formerly Oakland PianoFight). Berkeley Rep POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying to Keep Him Alive, by Selina Fillinger, September 16 – October 22, Roda Theatre. Boxcar Theatre. See website for calendar listings. Brava Theatre Center: See website for events. BroadwaySF: Tina: The Tina Turner Musical, August 1-27, 2023, Golden Gate. Broadway San Jose: Tina: The Tina Turner Musical, August 29 – September 3. California Shakespeare Theatre (Cal Shakes). No 2023 season scheduled. See website for events calendar. Center Rep: Crowns by Regina Taylor, September 9 – October 6, 2023. Central Works The Engine of Our Disruption by Patricia Milton, October 14 – November 12. Cinnabar Theatre. The Sound of Music, September 8 -24. Club Fugazi. See website for Club Date events in August. Dear San Francisco returns September 8, 2023. Contra Costa Civic Theatre Sondheim on Sondheim, August 25 – September 10; Tintypes, October 20 – November 12. Curran Theater: See website for upcoming live events and streaming choices. Custom Made Theatre. Tiny Fires by Aimee Suzara, postponed to a later date in 2023. Cutting Ball Theatre. See website for upcoming season. 42nd Street Moon. Mame, November 2 -19, 2023. Golden Thread  New Threads staged reading series, August 27. Lorraine Hansberry Theatre. See website for upcoming productions and events. Magic Theatre. Josephine's Feast by Star Finch, extended to September 27, Campo Santo at the Magic. See website for other events at the Magic. Marin Theatre Company Odyssey written and directed by Lisa Peterson, August 31 – September 24. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  Transnational Cabaret runs through August 20.  Before The Sword by Andrew Alty, September 15 – October 15. Oakland Theater Project.  Gary, a sequel to Titus Andronicus by Taylor Mac, September 1 – 24. Pear Theater. Noises Off by Michael Frayn,  September 8 – October 1. PianoFight. Permanently closed as of March 18, 2023. Presidio Theatre. See website for upcoming productions Ray of Light:  Cruel Intentions: The '90s Musical, September 8 – October 1, Victoria Theatre. The Rocky Horror Show, Oasis Nightclub, October 6  – 31. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse.  A Chorus Line runs through September 16, 2023. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company: Sex with Strangers by Laura Eason, October 12 – 30. Shotgun Players. Summer Salon: Various artists, July 23 – August 19. Wolf Play by Hansol Jung, Performances start September 2, 2023. South Bay Musical Theatre: Rent, September 30 – October 21. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Overlooked Latinas, September 24 – October 1. Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand, New performances most Wednesdays. TheatreWorks Silicon Valley. Mrs. Christie by Heidi Armbruster, October 4 -29, Mountain View Center for the Performing Arts. Word for Word.  See schedule for live and streamed performances and readings. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org                                     The post Bookwaves/Artwaves – August 24, 2023: Wayne Wang appeared first on KPFA.

Welcome to The B-Side, from The Film Stage. Here we talk about movie directors! Not the movies that made them famous or kept them famous, but the ones that they made in between. Surprise! Here's a bonus episode in which we speak to the talented, prolific, and dynamic director Wayne Wang. Our main B-Side is Dim Sum: A Little Bit of Heart, whose Director-Approved Special Edition Blu-ray is now available from Criterion. Additional B-Sides include Eat a Bowl of Tea, Life Is Cheap... But Toilet Paper Is Expensive (also on Criterion Channel), Smoke (and its own B-Side Blue in the Face), Chinese Box, and A Thousand Years of Good Prayers. We talk to Wang about making films efficiently, his career-long ambition to make a different kind of film every time, how to construct the perfect “pillow shot” (an homage to filmmaker Yasujirō Ozu), combating boredom on set with ambition, and some smaller films he hopes more people discover. There's also talk on his faltered first step into Hollywood (Slam Dance), what he could've bought with the production budget on Maid in Manhattan (a pink elephant!), and the fear that drove him while making Dim Sum. Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor.

Peter Sobczynski brings us up to date in the world of physical media. They include an early film from Wayne Wang, the latest from Wes Anderson and an anniversary edition of a documentary on David Bowie. There's a collection of Audie Murphy films and others about World War II not to mention fights against woodland terrorists and staged by the Shaw Brothers. Gregory Peck and Audrey Hepburn get the 4K treatment in one of the great classic romances. But do not count out the recommendations of a spooky British Halloween special and a crazy vehicle for William Shatner back in the ‘70s.   0:00 - Intro 0:42 - Criterion (Dim Sum: A Little Bit of Heart) 4:30 - Rhino (Ziggy Stardust and the Spiders from Mars) 8:18 - Grindhouse (Impulse) 15:12 - 101 Films (Ghost Watch) 20:11 - RLJE Films (The Wrath of Becky) 23:25 - Kino (Audie Murphy Collection III, The Day and the Hour, Is Paris Burning?, Last and First Men, The Doll (and I Don't Want to Be a Man)) 39:56 - Universal (Asteroid City) 46:05 - Paramount (Roman Holiday (70th Anniverary) (4K)) 51:31 - Shout! Factory (Shaw Brothers Classics: Vol. Two) 54:56 – New Blu-ray Announcements 1:00:05 - Outro

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

This week we've traversed from animation films to retrospectives on old films, then discussions on creators' confidences and believe in ones work.  (00:14) On translation, decolonisation in literature works; Violent Phenomena (09:55) Helen and her silly incidents with cars (15:10) YellowFace; discussions on confidence, faith, believe in creativity (25:15) Spider-Man: Across The Spider-Verse (30:25) Millennium Actress and movies that made us cry (again) (37:20) Wayne Wang  (41:05) Wong Kar Wai (43:47) FeedSpot, top 20 intersectional feminist podcast   Asian Bitches Down Under has been featured as one of the Top 20 Intersectional Feminist Podcast by FeedSpot, checkout other amazing podcast programs HERE Facebook | Asian Bitches Down Under Instagram | Asian Bitches Down Under  Buy Me A Coffee | Asian Bitches Down Under  

Bookwaves/Artwaves is produced and hosted by Richard Wolinsky. Links to assorted local theater & book venues   Bookwaves David Grann, whose latest book is “The Wager: A Tale of Shipwreck, Mutiny and Murder,” in conversation with Richard Wolinsky, recorded June 14, 2023 at Book Passage bookstore in Corte Madera, California. David Grann is a long-time staff writer for The New Yorker. Earlier books include Killers of the Flower Moon, soon to be a film directed by Martin Scorsese, The Devil and Sherlock Holmes, a collection of essays, and The Lost City of Z. The Wager tells the story of the HMS Wager, one of a handful of British ships sent around Cape Horn to harass the Spanish fleet in the Pacific, which went aground near the Strait of Magellan, and of the crew members who survived (and didn't) during the following year, and of the aftermath back in England. In the interview, David Grann also discusses the origins of Killers of the Flower Moon, and the relationship between all three of his books. Photos: Richard Wolinsky. Complete 37-minute Interview.   Bookwaves Yiyun Li discussing her first novel, “The Vagrants,” in conversation with host Richard Wolinsky, recorded in the KPFA studios, February 10, 2009. Yiyun Li is an award winning author of novels and short stories. Born in China in 1972, she earned a BA at Peking University before coming to the united States and getting a degree in Immunology from the University of Iowa, eventually moving on to a Master of fine Arts in creative fiction and non-fiction from the University of Iowa Writers Workshop. Her stories have appeared in the New Yorker and Paris Review, and two of the stories from her collection A Thousand Years of Good Prayers were adapted into films by Wayne Wang. She has also written five novels, the most recent The Book of Goose in 2022. This is the first of two interviews with Liyun Li. The second was recorded in 2014 for her novel, “Kinder than Solitude.” Complete 30-minute Interview   Book Interview/Events and Theatre Links Note: Shows may unexpectedly close early or be postponed due to actors' positive COVID tests. Check the venue for closures, ticket refunds, and vaccination and mask requirements before arrival. Dates are in-theater performances unless otherwise noted. Some venues operate Tuesday – Sunday; others Wednesday or Thursday through Sunday. All times Pacific Time. Closing dates are sometimes extended. Book Stores Bay Area Book Festival  Event calendar and links to previous events. Book Passage.  Monthly Calendar. Mix of on-line and in-store events. Books Inc.  Mix of on-line and in-store events. The Booksmith.   Monthly Calendar. On-line events only. Center for Literary Arts, San Jose. See website for Book Club guests in upcoming months. Green Apple Books. Events calendar. Kepler's Books  On-line Refresh the Page program listings. Live Theater Companies Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. Actor's Reading Collective (ARC).  See website for past streams. Alter Theatre. See website for upcoming productions. American Conservatory Theatre  The Hippest Trip: The Soul Train Musical,  August 25 – October 1, 2023. Aurora Theatre  Hurricane Diane by Madeleine George, June 16 – July 16. Streaming July 12 -16. Awesome Theatre Company. Check website for upcoming live shows and streaming. Berkeley Rep Out of Character, written and performed by Arfel Stachel, June 23 – July 30, Peets Theatre. Boxcar Theatre. See website for calendar listings. Brava Theatre Center: See website for events. BroadwaySF: Les Miserables, July 6 – 23, Orpheum. Tina: The Tina Turner Musical, August 1-27, 2023, Golden Gate. Broadway San Jose: Beetlejuice, August 1 – 6. California Shakespeare Theatre (Cal Shakes). No 2023 season scheduled. See website for events calendar. Center Rep: Crowns by Regina Taylor, September 9 – October 6, 2023. Central Works The Dignity Circle a new scheme by Lauren Smerkanich June 24 – July 23. Cinnabar Theatre. The Sound of Music, September 8 -24. Contra Costa Civic Theatre 2023-2024 season: Sondheim on Sondheim; Tintypes. Curran Theater: See website for upcoming events and streaming interview. Custom Made Theatre. Tiny Fires by Aimee Suzara, postponed to a later date in 2023. Cutting Ball Theatre. See website for upcoming season. 42nd Street Moon. See website for upcoming shows. Golden Thread  New Threads staged reading series, August 20 and August 27. Landmark Musical Theater.  My Unauthorized Hallmark Movie Musical, July 6 – July 30. Lorraine Hansberry Theatre. In The Evening By The Moonlight by Traci Tolmaire, co-created and directed by Margo Hall, June 15 – July 9, Young Performers Theatre, Fort Mason, San Francisco. Magic Theatre. Josephine's Feast by Star Finch, August 2 – 20, Campo Santo at the Magic. See website for other events at the Magic. Marin Theatre Company Odyssey written and directed by Lisa Peterson, August 31 – September 24. Mission Cultural Center for Latino Arts Upcoming Events Page. New Conservatory Theatre Center (NCTC)  Drag Queen Storytime Gone Wild starring the Kinsey Sicks, July 5 -16. Oakland Theater Project.  Gary, a sequel to Titus Andronicus by Gaylor Mac, September 1 – 24. Pear Theater. Falsettos,  June 30 – July 23. PianoFight. Permanently closed as of March 18, 2023. Presidio Theatre. See website for upcoming productions Ray of Light:  Spring Awakening, streaming through July 30. Cruel Intentions: The '90s Musical, September 8 – October 1, Victoria Theatre. The Rocky Horror Show, Oasis Nightclub, October 6  – 31. See website for Spotlight Cabaret Series at Feinstein's at the Nikko. San Francisco Playhouse.  A Chorus Line runs through September 9, 2023. SFBATCO See website for upcoming streaming and in- theater shows. San Jose Stage Company:Sex with Strangers by Laura Eason, October 12 – 30. Shotgun Players. Summer Salon: Various artists, July 23 – August 19. Wolf Play by Hansol Jung, Performances start September 2, 2023. South Bay Musical Theatre: Rent, September 30 – October 21. The Breath Project. Streaming archive. The Marsh: Calendar listings for Berkeley, San Francisco and Marshstream. Theatre Rhino  Streaming: Essential Services Project, conceived and performed by John Fisher, all weekly performances now available on demand, New performances most Wednesdays. TheatreWorks Silicon Valley. New Works Festival, August 11 – 20, Lucie Stern Theatre, Palo Alto. Word for Word.  See schedule for  one-night readings and streaming performances. Misc. Listings: BAM/PFA: On View calendar for BAM/PFA. Berkeley Symphony: See website for listings. Chamber Music San Francisco: Calendar, 2023 Season. Dance Mission Theatre. On stage events calendar. Oregon Shakespeare Festival: Calendar listings and upcoming shows. San Francisco Opera. Calendar listings. San Francisco Symphony. Calendar listings. Filmed Live Musicals: Searchable database of all filmed live musicals, podcast, blog. If you'd like to add your bookstore or theater venue to this list, please write Richard@kpfa.org                                     The post Bookwaves/Artwaves – July 6, 2023: David Grann – Yiyun Li appeared first on KPFA.

Yiyun Li discussing her first novel, “The Vagrants,” in conversation with host Richard Wolinsky, recorded in the KPFA studios, February 10, 2009. Yiyun Li is an award winning author of novels and short stories. Born in China in 1972, she earned a BA at Peking University before coming to the united States and getting a degree in Immunology from the University of Iowa, eventually moving on to a Master of fine Arts in creative fiction and non-fiction from the University of Iowa Writers Workshop. Her stories have appeared in the New Yorker and Paris Review, and two of the stories from her collection A Thousand Years of Good Prayers were adapted into films by Wayne Wang. She has also written five novels, the most recent The Book of Goose in 2022. This is the first of two interviews with Liyun Li. The second was recorded in 2014 for her novel, “Kinder than Solitude.” The post Yiyun Li, “The Vagrants,” 2009 appeared first on KPFA.

     This week two films about Chinese-Americans and cross cultural experiences.      Billi maintains a close relationship with her Nai Nai (paternal grandmother), despite there being half a planet between them. When Nai Nai is diagnosed with late stage terminal lung cancer, which the rest of their family have decided to keep secret from Nai Nai. The whole family gathers under false pretenses to have The Farewell.     Jo and Steve are purchasing their taxi medallion. Their friend, Chan, volunteers to be the transactional go-between. Unfortunately, Chan has disappeared, along with the money. The two men begin a search for their friend in San Francisco's Chinatown population. Wayne Wang's second feature and part of the US National Film Registry, Chan is Missing.    Join us, won't you?  Episode 309- Diagnosis: Samurai Night Fever

“You don't know the power you have over me. One word from you, one look, and I'm four years old again.” We discuss the The Joy Luck Club, Amy Tan, Wayne Wang and a mountain of mom feels with the wonderful Jessamine Chan.You can find Jessamine (and her book The School for Good Mothers) online here!You Are Good is a feelings podcast about movies.You can buy a Vulnerability Kink shirt here!You can find us on Twitter, Instagram, Patreon and Apple Plus.This episode was made possible by your support! Thanks to everybody who supports us on Patreon and Apple Plus.Multitude handles our ad sales!The Music of You Are Good, Vol. 1 is here.Miranda Zickler and Carolyn Kendrick edited this episode!Fresh Lesh produces the beats for our episodes.Liz Climo designed our logo!

In which the Mister joins me in reviewing THE JOY LUCK CLUB (1993), currently available on Prime Video/Hulu/Paramount+ and Peacock.  Directed by Wayne Wang, from a script by Amy Tan and Ron Bass, the film is based on the novel of the same name from writer Amy Tan.  In this film the lives of 4 Asian women and their daughters, blend their stories and histories into a lovely tapestry of experiences that encompass decades and go from highs to lows and showcase the power of love and friendship.  The film has a run time of 2 h and 19 m and is rated R. Please note there are SPOILERS in this review. Opening intro music: GOAT by Wayne Jones, courtesy of YouTube Audio Library --- Support this podcast: https://podcasters.spotify.com/pod/show/jokagoge/support

Getting the hell out of Gotham City of the future, Andrew and Dave instead make their way to 1993 to take a look at director Wayne Wang's The Joy Luck Club, the adaptation of the 1989 novel of the same name from author Amy Tan. Will the duo have anything of value to say despite clearly not being part of the target audience in any way? Just what band was Amy Tan part of? And when the heck is this film going to get a 4K remaster, anyway? Tune in and find out!Next Episode: Look, it isn't the worst film of Eddie Murphy's career, but it is still a BAD film.All music by Andrew Kannegiesser. Editing by Dave Babbitt

Joe and Steve hit the pavement of San Francisco's Chinatown and beyond, searching through a tapestry of Asian-American identities for a business partner who has run off with their money… or has he?  Wayne Wang's stripped-bare noir is less of an homage and more of an exploration of what it means to be an immigrant in a society that demands assimilation and refuses to accept. Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you' like to watch ahead for next week's film, we will be discussing and reviewing Michael Cimino's Heaven's Gate (1980).

Writer Malcolm Harris has a new book out called Palo Alto: A History of California, Capitalism, and the World. It's as sweeping as the title suggests: a lively biography of the author's hometown that covers nearly two centuries. In the book, Harris traces the connections between the settling of California and the advent of the railroad, the establishment of Stanford University, the technological boom of the long 20th century, and own data-driven present.  What you may not expect is that the book is also, in many ways, a history of the cinema: as Malcolm details, Eadweard Muybridge developed his pioneering equine motion studies under the patronage of railroad baron Leland Stanford, who wanted to figure out how to raise better race horses. So on today's episode, Film Comment Editors Devika Girish and Clinton Krute invited Malcolm to join them for a conversation about his new book and California's decades-spanning nexus of technology, capital, and the moving image. From Muybridge, they moved to several other movies that Malcolm cites in the book, including Justin Lin's Better Luck Tomorrow, Wayne Wang's Chan Is Missing, the dot-com era thriller Antitrust, and more.

Content Warning: The films covered in this episode depict various scenes of sexual assault. Listeners who would not like to engage with this kind of material are encouraged to skip this one   200 eps! So we're doing 200 movies to celebrate! Actually, just 6 movies. But there's enough good stuff in these 6 for 200 normal films. Get ready for…Kenji Misumi's Lone Wolf and Cub: Sword of Vengeance (1972), Kenji Misumi's Lone Wolf and Cub: Baby Cart at the River Styx (1972), Kenji Misumi's Lone Wolf and Cub: Baby Cart to Hades (1972), Buichi Saitō's Lone Wolf and Cub: Baby Cart in Peril (1972), Kenji Misumi's Lone Wolf and Cub: Baby Cart in the Land of Demons (1973), and Yoshiyuki Kuroda's Lone Wolf and Cub: White Heaven in Hell (1974) Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Wayne Wang's Chan is Missing (1982).

For the first time in his life Randy uttered the words “Meet Me in the Bathroom”. Clark continues his exhaustive research on “Cool Guy” films with Guy Ritchie's latest and Russ teases an upcoming remake with a review of its predecessor, “Last Shift”. 00:00:00 - Intro () 00:12:07 - The boys talk about Chris Rock's Selective Outrage () 00:26:45 - Fe-Mail Bag () 00:38:49 - Clark tees up Randy () 00:41:14 - Randy talks Wayne Wang's Life is Cheap...but Toilet Paper is Expensive () 00:53:43 - Meet Me in the Bathroom (2023) () 01:03:52 - Clark talks Guy Ritchie's latest Operation Fortune: Ruse de Guerre () 01:26:35 - Russell talks about a movie that someone else saw (Children of the Corn) () 01:29:55 - Last Shift (2014) () 01:46:49 - Russell watches The Strays (2023) () 02:04:20 - Outro () Films: Meet Me in the Bathroom (2022), Life Is Cheap... But Toilet Paper Is Expensive (1989), Operation Fortune: Ruse de guerre (2023), Last Shift (2014), Malum (2023), The Strays (2023), Drag Me to Hell (2009), Chris Rock: Selective Outrage (2023), The Last of Us (TV), Tulsa King (TV), Gothika (2003), The Cell (2000), White Noise (2022), Poker Face (TV), The Alphabet Killer (2008), Children of the Corn (2020), The Reading (2023) Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at OverlookHour@gmail.com Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

Belgian director Lukas Dhont, whose powerful new drama Close was just nominated for the Best International Feature Oscar, celebrates Chantal Akerman's revolutionary Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles being named the greatest film of all time by Sight & Sound last year. And while your genial host Norm Wilner did tackle Akerman's movie with Wayne Wang back in Episode 306, he's happy to go back in.

Ho deciso quest'anno di lasciare il racconto di Natale a un personaggio dell'episodio finale del film Smoke del 1995 di Wayne Wang.Il racconto di Natale di Auggie Wren, appunto.E Buon Natale!Iscriviti al #podcast, commenta e condividi con i tuoi amici le #puntate di #thebigfatvoice, seguiti sui #social, rimani in contatto e buon ascolto!Visita il sito www.mbgvoice.com Segui la pagina Facebook https://www.facebook.com/thebigfatvoice Segui il profilo Instagram https://www.instagram.com/thebigfatvoicePuoi metterti in contatto con Massimiliano scrivendo a info@mbgvoice.comFai girare la voce… o meglio… fai girare #thebigfatvoiceMusica originale by #audiio @helloaudiio www.audiio.com

Benvenuti nella raccolta in formato Podcast delle puntate di #CloseUp, a cura di Matteo Righi, aka Houssy. #CloseUp è la rubrica di recensioni cinematografiche in onda su Radio Italia Anni 60 Emilia-Romagna.

On this episode I'm talking to Jesse Pires, director and curator at the Lightbox Film Center. We're discussing his work down in Philadelphia as well as the work Lightbox is doing on restoration on things like Wayne Wang's Life is Cheap, but Toilet Paper is Expensive.

On this episode I'm talking to Jesse Pires, director and curator at the Lightbox Film Center. We're discussing his work down in Philadelphia as well as the work Lightbox is doing on restoration on things like Wayne Wang's Life is Cheap, but Toilet Paper is Expensive.

“This film makes me question so many of my own beliefs — what it means to be a Chinese American woman. What might seem stereotypical, but may be very culturally true.” MMovies returns to talk about important films that explain the minority experience for the rest of our majority ears. THE JOY LUCK CLUB - however you may feel about it - is THE original Asian American movie. This 1993 film adapts the 1989 novel of the same name by Amy Tan. An Asian American drama about the relationships between Chinese American women and their Chinese immigrant mothers - the film features 50 women of the 60 credited roles. Directed by Wayne Wang and produced by Oliver Stone - the film stars Tsai Chin, Kieu Chinh, Lisa Lu, France Nuyen, Rosalind Chao, Lauren Tom, Tamlyn Tomita, and Ming-Na Wen - and centers on four older women, all Chinese immigrants living in San Francisco, who meet regularly to play mahjong, eat, and tell stories. Hidden pasts are revealed, and the clash of Chinese and American cultures is on full display as each strives to understand their own heritage and identity. The Joy Luck Club is an important cultural touchstone that people have VERY strong perspectives about - positive and negative - so along with longtime FrieMMd of the Pod (and one of our favorite Canadians) Melissa Haughton - we interrogate our feelings on the film, as well as reflect on our own observations and upbringings, and you may be surprised where we net out about this classic... LEARN MORE & MENTIONS FILM: The Joy Luck Club - imdb.com/title/tt0107282/ BOOK: The Joy Luck Club (Amy Tan) ARTICLE (Slate): “It's Time to Forgive The Joy Luck Club” — https://slate.com/culture/2018/08/the-joy-luck-club-needs-to-be-forgiven-by-asian-americans.html GUEST: Melissa Haughton - Melissahaughton.com

“This film makes me question so many of my own beliefs — what it means to be a Chinese American woman. What might seem stereotypical, but may be very culturally true.” MMovies returns to talk about important films that explain the minority experience for the rest of our majority ears. THE JOY LUCK CLUB - however you may feel about it - is THE original Asian American movie. This 1993 film adapts the 1989 novel of the same name by Amy Tan. An Asian American drama about the relationships between Chinese American women and their Chinese immigrant mothers - the film features 50 women of the 60 credited roles. Directed by Wayne Wang and produced by Oliver Stone - the film stars Tsai Chin, Kieu Chinh, Lisa Lu, France Nuyen, Rosalind Chao, Lauren Tom, Tamlyn Tomita, and Ming-Na Wen - and centers on four older women, all Chinese immigrants living in San Francisco, who meet regularly to play mahjong, eat, and tell stories. Hidden pasts are revealed, and the clash of Chinese and American cultures is on full display as each strives to understand their own heritage and identity. The Joy Luck Club is an important cultural touchstone that people have VERY strong perspectives about - positive and negative - so along with longtime FrieMMd of the Pod (and one of our favorite Canadians) Melissa Haughton - we interrogate our feelings on the film, as well as reflect on our own observations and upbringings, and you may be surprised where we net out about this classic... LEARN MORE & MENTIONS FILM: The Joy Luck Club - imdb.com/title/tt0107282/ BOOK: The Joy Luck Club (Amy Tan) ARTICLE (Slate): “It's Time to Forgive The Joy Luck Club” — https://slate.com/culture/2018/08/the-joy-luck-club-needs-to-be-forgiven-by-asian-americans.html GUEST: Melissa Haughton - Melissahaughton.com Learn more about your ad choices. Visit megaphone.fm/adchoices

The “Cinephile Cuties” are ready to bum around San Fran. That's because they're chatting about the 1982 film by Wayne Wang - ‘Chan Is Missing.'If you like this show, join our Patreon!Follow Farthouse on Twitter and InstagramFollow Patrick and Casey on TwitterAnd follow Patrick and Casey on Letterboxd

Book Vs. Movie: The Joy Luck ClubAmy Tan's 1989 Novel Vs the 1993 Wayne Wang FilmTo finish out AAPI month the Margos talk about Amy Tan and her debut novel The Joy Luck Club which became a sensation when it was released in the late 1980s. The Oakland, California native was raised by Chinese immigrant parents who instilled a strong ethic in her and wanted her to take advantage of being an American while remaining Chinese in her heart and actions. Tan found this very tough, especially after her father & brother died and she wound up in Switzerland at the age of 15. We talk about Tan's teenage years and her strained relationship with her mother which later became fodder for her first novel. In 1989 the hardcover book sold over 275, 000 copies, and the paperback rights went for $1.2 million. It was just a matter of time to get the book adapted into a film. The Joy Luck Club is the story of four immigrant families who are all based in San Francisco with the daughters struggling to emotionally connect with their strict mothers. The women are complex and have many secrets between them that go all the way back to their time in China. Each has a story about why they wanted to come to America and how challenging it is to raise a child in a new culture while retaining your principles and values. The film was directed by Wayne Wang who hired the best Asian actors in the business to play the Chinese American cast. The film was highly successful but it was still decades before an all Asain cast had a hit film in America (Crazy Rich Asians.) There were several differences between the novel which had eight different stories to tell and the movie which has just over an hour and 30 minutes run time. So between the two, which did we like more? The book or the movie? In this ep the Margos discuss:Amy Tan's background and the inspiration for her bookThe different women in China and San Francisco and how they all relate to each otherThe changes between the novel and the 1993 movieThe cast: Rosalind Chao (Rose,) Lauren Tom (Lena,) Tamlyn Tomita (Waverly,) Ming-Na Wen (June,) Tsai Chin (Lindo,) Kieu Chinh (Suyann,) Lisa Lu (An-Mei,) France Nuyen (Ying-Ying,) Andrew McCarthy (Ted,) Christopher Rich (Rich,) Michael Paul Chan (Harold,) and Russell Wong (Lin Xiao.) Clips used:Rose confronts TedThe Joy Luck Club 1993 TrailerRich screws up dinnerLena and Harold argue Ted and his mother argueJune and her mother uniteMusic by Rachel PortmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie: The Joy Luck ClubAmy Tan's 1989 Novel Vs the 1993 Wayne Wang FilmTo finish out AAPI month the Margos talk about Amy Tan and her debut novel The Joy Luck Club which became a sensation when it was released in the late 1980s. The Oakland, California native was raised by Chinese immigrant parents who instilled a strong ethic in her and wanted her to take advantage of being an American while remaining Chinese in her heart and actions. Tan found this very tough, especially after her father & brother died and she wound up in Switzerland at the age of 15. We talk about Tan's teenage years and her strained relationship with her mother which later became fodder for her first novel. In 1989 the hardcover book sold over 275, 000 copies, and the paperback rights went for $1.2 million. It was just a matter of time to get the book adapted into a film. The Joy Luck Club is the story of four immigrant families who are all based in San Francisco with the daughters struggling to emotionally connect with their strict mothers. The women are complex and have many secrets between them that go all the way back to their time in China. Each has a story about why they wanted to come to America and how challenging it is to raise a child in a new culture while retaining your principles and values. The film was directed by Wayne Wang who hired the best Asian actors in the business to play the Chinese American cast. The film was highly successful but it was still decades before an all Asain cast had a hit film in America (Crazy Rich Asians.) There were several differences between the novel which had eight different stories to tell and the movie which has just over an hour and 30 minutes run time. So between the two, which did we like more? The book or the movie? In this ep the Margos discuss:Amy Tan's background and the inspiration for her bookThe different women in China and San Francisco and how they all relate to each otherThe changes between the novel and the 1993 movieThe cast: Rosalind Chao (Rose,) Lauren Tom (Lena,) Tamlyn Tomita (Waverly,) Ming-Na Wen (June,) Tsai Chin (Lindo,) Kieu Chinh (Suyann,) Lisa Lu (An-Mei,) France Nuyen (Ying-Ying,) Andrew McCarthy (Ted,) Christopher Rich (Rich,) Michael Paul Chan (Harold,) and Russell Wong (Lin Xiao.) Clips used:Rose confronts TedThe Joy Luck Club 1993 TrailerRich screws up dinnerLena and Harold argue Ted and his mother argueJune and her mother uniteMusic by Rachel PortmanBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

CW: We discuss sexual assault in this episode as it pertains to the scenes in the film. The Artisan train keeps rollin' with this week's episode on THE CENTER OF THE WORLD (2001)! We discuss the career of director Wayne Wang, the mild controversary this movie caused, THE LIE and unrated films. Twitter: @AlmostMajor Kevin: @kevbonesy on Twitter/Letterboxd Bryden: @BrydenDoyle on Twitter + @JDoyle on Letterboxd Charlie: @ctnash91 on Twitter/Letterboxd

Welcome to Open Form, a new weekly film podcast hosted by award-winning writer Mychal Denzel Smith. Each week, a different author chooses a movie: a movie they love, a movie they hate, a movie they hate to love. Something nostalgic from their childhood. A brand-new obsession. Something they've been dying to talk about for ages and their friends are constantly annoyed by them bringing it up. In this episode, Mychal talks to Ashley C. Ford (Somebody's Daughter) about the 1993 film The Joy Luck Club, starring Tsai Chin, Kieu Chinh, Lisa Lu, France Nuyen, Rosalind Chao, Lauren Tom, Tamlyn Tomita, and Ming-Na Wen, and directed by Wayne Wang. Learn more about your ad choices. Visit megaphone.fm/adchoices

Wayne Wang, director of such films as “Chan is Missing,” “The Joy Luck Club” and “Smoke,” in conversation with host Richard Wolinsky. Recorded March 1, 2022. In this hour-long conversation, the noted filmmaker discusses, in depth, several of his movies, talks about his origins as a director, his work on Hollywood films like “Anywhere But Here,” “Smoke,” and “Maid in Manhattan,” his difficulties filming in China, his view of Chinatown and Chinese families, and much more. A Wayne Wang retrospective is currently on view at Berkeley Art Museum Pacific Film Archive, featuring several of his films, including Chan is Missing, Dim Sum: A Little Bit of Heart, Life Is Cheap..But Toilet Paper Is Expensive, Chinese Box and others, several of which are introduced live by the filmmaker. BAMPFA Website and schedule. The post Wayne Wang: Career Retrospective, 2022 appeared first on KPFA.

Ep. 45: Chan Is Missing (1982) is now available on your favorite platforms. Link in the bio

Allie and Mia continue celebrating "J.Lo January" by watching 2002 Rom-Com "Maid in Manhattan" starring Jennifer Lopez and Ralph Fiennes. They chat about J.Lo's iconic peach dress, Wayne Wang's grounded directing style, and why John Hughes chose to be credited with the pseudonym "Edmond Dantes". __ SHOW INFORMATION Instagram: @P.S.ILoveRomComsPod Twitter: @P.S.ILoveRomComsPod Email: P.S.ILoveRomComsPod@gmail.com

Episode 91: 1996 with Nick Davis Welcome to The Last Thing I Saw. I'm your host, Nicolas Rapold. It's time to look back at the year in the movies—the year 1996, that is. Scholar and pal Nick Davis joins me to revisit movies from a pivotal year early in our rabid moviegoing. Our trips down memory lane take us through Hollywood productions like The People vs. Larry Flynt and Jerry Maguire, and independent visions like Wayne Wang's Smoke and Spike Lee's Get on the Bus. What did we think then? What do we think now? Did we ever recover from seeing Crash when our brains were so soft and vulnerable? Nick Davis is a professor at Northwestern University, researching and teaching in the areas of film, queer theory, feminist and gender studies, and 20th/21st-century American literature. (We also remember seeing Surviving Picasso but aren't ready to talk about that yet.) You can support this podcast and read show notes with links at: rapold.substack.com Opening music: “Monserrate” by The Minarets Photo by Steve Snodgrass

Hoy escucharemos una historia de Paul Auster "El Cuento de Navidad de Auggie Wren". Este relato se publicó con el New York Times la Navidad de 1990. Nada más leerlo, el director de cine Wayne Wang decidió contactar con Auster para proponerle el guión de una película que englobara la historia. De esta experiencia nació Smoke , aunque El Cuento de Navidad de Auggie no aparece hasta el final de la película. Después en la sección poemas desconocidos de escritores famosos escucharemos "Tus Manos" de Juan Ramón Jiménez. Canciones: Blues Christmas de Lullanas y Last Christmas de Jack Water (cover of Wham!) Contacto: palabrassonorasblues@gmail.com

This week on Every Rom Com we’re continuing our Christmas Rom Com series with the 2006 Queen Latifah movie “Last Holiday.” We’ll talk about the hotel and spa town that served as the film’s location; explore the careers of director Wayne Wang, Queen Latifah, and L.L. Cool J; and talk about how confronting death can help us discard our fears and realize our dreams. We’re joined this episode by Jen’s brother and Luna’s husband, Ishtar, who brings the perspective of his own spiritual practices and readings to our discussion! 0:00-12:09 Introduction, Introducing Ishtar Howell, Updates on Luna’s Life, What Are Your Favorite Christmas Movies? Ishtar has lived a rich and strange life. The main catalyst is perhaps the NDE experienced at age 13, which over the next few years contributed to a serious interest in spirituality, the adoption of various spiritual practices, and entering an ashram at age 18. While the sense of inner wholeness has been the focus, “things rich and strange” came along for the ride in the form of precognitive seeing, telepathy, ghosts, lucid dreams, and the wild and improbable manifestation of desires. For Ishtar, synchronicity is a very real happening beyond the explanatory framework of chance. These days, Ishtar lives in Portugal with Luna, teaching meditation and providing astrological readings. To Learn More About Ishtar’s Work: Meditation website: www.ascension-meditation.com Astrology website: www.awakenedlightastrology.com To Practice Yoga With Luna: www.yogawithluna.com 12:09-23:05 TRAILER, Basic Info, Interesting Facts, General Opinion Source for the Interesting Facts was mainly the special features on the “Last Holiday” DVD! 23:05-37:05 Cast & Crew In-Depth 37:05-48:21 Opening Scenes, Introduction to Georgia, The Possibilities Book, What Would Be In Your Possibilities Book? 48:21-1:02:33 Georgia’s Diagnosis, Coming To Grips With Death 1:02:33-1:12:50 Georgia’s Trip, The Grand Hotel Pupp, Karlovy Vary Website of the Grand Hotel Pupp: https://www.pupp.cz/en/about-the-hotel Travelogues on Karlovy Vary: https://www.youtube.com/watch?v=oJjpGHh3Dq0 https://www.youtube.com/watch?v=gglQyfoM3a4 1:12:50-1:23:41 Characters At The Hotel, Georgia’s First Days At The Hotel, Meeting Chef Didier 1:23:41-1:41:35 Georgia And Matthew Kragen, The Snowboarding Scene

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is the second episode of the September 2021 Imprint Films drop, and we're talking: As Good As It Gets (1997) & Chinese Box (1997).As Good As It Gets (1997)Curmudgeon Melvin Udall (Jack Nicholson) is a neurotic romantic writer who enjoys insulting his neighbour, artist Simon Bishop (Greg Kinnear), and being rude to waitress Carol (Helen Hunt) at his local restaurant. However, when Simon is hospitalised, it falls to Melvin to look after his pet dog, Verdell. An emotional thaw begins to set in, and when Carol misses stints at the restaurant due to her son's asthma, Melvin pays for him to have proper medical attention. A budding romance with Carol is threatened, however, by Melvin's obsessive neuroses.Jack Nicholson and Helen Hunt each won Oscars for their performances in this prickly comedy directed by James L. Brooks.Special Features and Technical Specs:1080p High definition presentationAudio commentary with director James L. Brooks and actors Jack Nicholson, Helen Hunt, and Greg KinnearNew featurette on Director James L Brooks (2021)New actor featurette (2021)New Visual Essay by filmmaker, writer and programmer Ian Mantgani (2021)Imprint Collection # 65Chinese Box (1997)Jeremy Irons stars as John, a British journalist living in Hong Kong. John has fallen in love with Vivian (Li), a bartender with a jaded past. Vivian is eager to secure her position in Hong Kong society and wants her successful boyfriend Chang to marry her. When Chang proves to be indecisive about their relationship, Vivian turns to John. Giving into their feelings for a brief but passionate affair, they now face inevitable change and unexpected obstacles in this touching and compelling film.Director Wayne Wang (The Joy Luck Club) creates a cinematic “love letter” to his native island Hong Kong.Special Features and Technical Specs:New 2020 1080p High definition 2K restorationAudio commentary with co-writer / director Wayne Wang and critic Roger GarciaNew featurette on Wayne Wang (2021)New composer featurette (2021)“Chinese Box Home Movies” featuretteOriginal aspect ratio 1.85:1Imprint Collection # 63Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations

A Serious Disc Agreement is the only "serious" podcast on the Australian Internet about "Movie Disc Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is the second episode of the September 2021 Imprint Films drop, and we're talking: As Good As It Gets (1997) & Chinese Box (1997).As Good As It Gets (1997)Curmudgeon Melvin Udall (Jack Nicholson) is a neurotic romantic writer who enjoys insulting his neighbour, artist Simon Bishop (Greg Kinnear), and being rude to waitress Carol (Helen Hunt) at his local restaurant. However, when Simon is hospitalised, it falls to Melvin to look after his pet dog, Verdell. An emotional thaw begins to set in, and when Carol misses stints at the restaurant due to her son's asthma, Melvin pays for him to have proper medical attention. A budding romance with Carol is threatened, however, by Melvin's obsessive neuroses.Jack Nicholson and Helen Hunt each won Oscars for their performances in this prickly comedy directed by James L. Brooks.Special Features and Technical Specs:1080p High definition presentationAudio commentary with director James L. Brooks and actors Jack Nicholson, Helen Hunt, and Greg KinnearNew featurette on Director James L Brooks (2021)New actor featurette (2021)New Visual Essay by filmmaker, writer and programmer Ian Mantgani (2021)Imprint Collection # 65Chinese Box (1997)Jeremy Irons stars as John, a British journalist living in Hong Kong. John has fallen in love with Vivian (Li), a bartender with a jaded past. Vivian is eager to secure her position in Hong Kong society and wants her successful boyfriend Chang to marry her. When Chang proves to be indecisive about their relationship, Vivian turns to John. Giving into their feelings for a brief but passionate affair, they now face inevitable change and unexpected obstacles in this touching and compelling film.Director Wayne Wang (The Joy Luck Club) creates a cinematic “love letter” to his native island Hong Kong.Special Features and Technical Specs:New 2020 1080p High definition 2K restorationAudio commentary with co-writer / director Wayne Wang and critic Roger GarciaNew featurette on Wayne Wang (2021)New composer featurette (2021)“Chinese Box Home Movies” featuretteOriginal aspect ratio 1.85:1Imprint Collection # 63Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

In today's episode, Film Forum presents a conversation between filmmaker Wayne Wang and New Yorker writer Hua Hsu from the opening night of the new restoration of Wang's groundbreaking independent film CHAN IS MISSING, on August 20th. When it premiered in 1982 at MoMA's New Directors/New Films festival, CHAN IS MISSING, a Neo-Noir comedy-drama set in San Francisco's Chinatown, announced Wang as an exciting new voice in American cinema. Wang went on to make the acclaimed films DIM SUM: A LITTLE BIT OF HEART and the Academy Award-nominated adaptation of Amy Tan's novel THE JOY LUCK CLUB, both of which also screened during our run of CHAN IS MISSING. He continues to make vibrant work that centers on the Asian-American experience. Special thanks to Marcus Hu at Strand Releasing, Hua Hsu, and Wayne Wang for making this event possible. Photo by Stephen Olweck.

Onde há fumo há fogo, e este Smoke (1995) é prova disso. Passamos para o bairro de Brooklyn, onde se passa este filme assinado por Wayne Wang e Paul Auster.

Po latach znikomej obecności twórców i bohaterów azjatyckiego pochodzenia w amerykańskim kinie, od jakiegoś czasu obserwujemy znaczący zwrot akcji. Nagrody dla "Parasite", "Kłamstewka" czy "Minari", Oscar dla Chloé Zhao, zapowiedzi pierwszej marvelowskiej produkcji z azjatyckim superbohaterem - wygląda na to, że pewne bariery zaczęły pękać. Równocześnie Amerykanie pochodzenia azjatyckiego mierzą się w codziennym życiu z narastającą falą rasizmu i otwartej przemocy.  Jak wyglądała historia różnych mniejszości azjatyckich, przybywających od XIX wieku do Stanów Zjednoczonych? W jakie stereotypy przez dekady ubierało ich kino głównego nurtu? Dlaczego aktorzy azjatyckiego pochodzenia nie mogli liczyć na pierwszoplanowe role? I w końcu - dlaczego sukces takich filmów jak "Minari" ma kolosalne znaczenie dla poszerzania świadomości masowego odbiorcy? Odpowiedzi na te pytania szukamy w 29. odcinku Azja Kręci!   Filmy odcinka:  Awkwafina is Nora From Queens, Stany Zjednoczone, seria od 2020 Bajecznie bogaci Azjaci / Crazy Rich Asians, reż. Jon M. Chu, Stany Zjednoczone 2018 Better Luck Tomorrow, reż. Justin Lin, Stany Zjednoczone 2002 Chan is Missing, reż. Wayne Wang, Stany Zjednoczone 1982 Córka smoka / Daughter of the Dragon, reż. Lloyd Corrigan, Stany Zjednoczone 1931 Do wszystkich chłopców, których kochałam / To All the Boys I've Loved Before, reż. Susan Johnson, Stany Zjednoczone 2018 Eternals, reż. Chloé Zhao, Stany Zjednoczone (premiera planowana na 2021) Fresh Kill, Shu Lea Cheang, Stany Zjednoczone 1994 Gook, reż. Justin Chon, Stany Zjednoczone 2017 Gwiezdne wojny: Ostatni Jedi / Star Wars: The Last Jedi, reż. Rian Johnson, Stan Zjednoczone 2017 Imperium przepychu / Bling Empire, Stany Zjednoczone, seria od 2021 Island of Secret Memories, reż. Loni Ding, Stany Zjednoczone 1988 Issei: The First Generation, reż. Toshi Washizu, Stany Zjednoczone 1984 Klub szczęścia / The Joy Luck Club, reż. Wayne Wang, Stany Zjednoczone 1993 Kłamstewko / The Farewell, reż. Lulu Wang, Stany Zjednoczone 2019 Król donutów / The Donut King, reż. Alice Gu, Stany Zjednoczone 2020 Minari, reż. Lee Isaac Chung, Stany Zjednoczone 2020 Mulan, reż. Niki Caro, Stany Zjednoczone 2020 My Name Ain't Suzie, reż. Angela Chan, Hongkong 1985 Raya i ostatni smok / Raya and the Last Dragon, reż. Carlos López Estrada, Don Hall, Paul Briggs, Stany Zjednoczone 2021 Rób, co należy / Do the Right Thing, reż. Spike Lee, Stany Zjednoczone 1989 Shang-Chi i legenda dziesięciu pierścieni / Shang-Chi and the Legend of the Ten Rings, reż. Destin Daniel Cretton, Stany Zjednoczone (premiera planowana na 2021) Strawberry Fields, reż. Rea Tajiri, Stany Zjednoczone 1997 Śniadanie u Tiffany'ego / Breakfast at Tiffany's, reż. Blake Edwards, Stany Zjednoczone 1961 Świat Suzie Wong / The World of Suzie Wong, reż. Richard Quine, Stany Zjednoczone 1960 Terminal USA, reż. Jon Moritsugu, Stany Zjednoczone 1994 Woman of Fire, reż. Kim Ki-young, Korea Południowa 1971 Zachować twarz / Saving Face, reż. Alice Wu, Stany Zjednoczone 2004    

Jeremy is joined by author and scriptwriter Simon Guerrier to discuss Smoke, the 1995 ensemble drama by Paul Auster and Wayne Wang and starring Harvey Keitel, William Hurt, Forest Whitaker, Stockard Channing, Ashley Judd and Jared Harris. In their exploration, they touch on the companion film Blue in the Face, the transformation of New York, the screenwriter as auteur, the history of tobacco and Belgian waffles.

In this episode of Warm Regards, we talk to two Indigenous scientists about traditional ecological knowledges and their relationship with climate and environmental data. In talking with James Rattling Leaf, Sr. and Krystal Tsosie, Jacquelyn and Ramesh discuss how these ideas can challenge Western notions of relationality and ownership, how they have been subject to the long history of extraction and exploitation of Indigenous communities (practices which continue today), but also how Indigenous scientists and activists link sovereignty over data created by and for Indigenous people to larger sovereignty demands. You can find a transcript of this episode on our Medium page: https://ourwarmregards.medium.com/indigenous-climate-knowledges-and-data-sovereignty-4fc756b9476e James Rattling Leaf, Sr. North Central Climate Adaptation Science Center https://nccasc.colorado.edu Rising Voices: https://risingvoices.ucar.edu GEO Indigenous Alliance https://earthobservations.org/indigenoussummit2020.php Oceti Sakowin http://aktalakota.stjo.org/site/News2?page=NewsArticle&id=8309 https://americanindian.si.edu/nk360/plains-belonging-nation/oceti-sakowin Tribal Climate Leaders Program: https://cires.colorado.edu/news/tribal-climate-leaders-program Krystal Tsosie You can follow her on Twitter: https://twitter.com/kstsosie Native BioData Consortium https://nativebio.org United States Indigenous Data Sovereignty Network https://usindigenousdata.org CARE Principle for Indigenous Data Governance https://datascience.codata.org/articles/10.5334/dsj-2020-043/ Finally, you can listen to Good Fire at their website or wherever you get your podcasts: https://yourforestpodcast.com/good-fire-podcast Further reading: Several of Kyle Whyte’s papers informed out team’s understanding as we prepared this episode: Indigenous Climate Change Studies: Indigenous Futures, Decolonizing the Anthropocene https://kylewhyte.marcom.cal.msu.edu/wp-content/uploads/sites/12/2018/07/IndigenousClimateChangeStudies.pdf Indigenous Lessons About Sustainability Are Not Just “For All Humanity” https://kylewhyte.marcom.cal.msu.edu/wp-content/uploads/sites/12/2018/07/IndigenousInsightsintoSustainabilityarenotforAllHumanity.pdf Too late for indigenous climate justice: Ecological and relational tipping points https://onlinelibrary.wiley.com/doi/abs/10.1002/wcc.603 Dominique M. David-Chavez and Michael C. Gavin, A global assessment of Indigenous community engagement in climate research. https://iopscience.iop.org/article/10.1088/1748-9326/aaf300/meta Eve Tuck & Wayne Wang 2012, Decolonization is not a metaphor https://clas.osu.edu/sites/clas.osu.edu/files/Tuck%20and%20Yang%202012%20Decolonization%20is%20not%20a%20metaphor.pdf For more on how climate change impacts Shishmaref, see Elizabeth Marino’s book, Fierce Climate Sacred Ground: https://www.alaska.edu/uapress/browse/detail/index.xml?id=528 Scott Kalafatis et al., Ensuring climate services serve society: examining tribes’ collaborations with climate scientists using a capability approach: https://link.springer.com/article/10.1007/s10584-019-02429-2 Institute for Tribal Environmental Professionals http://www7.nau.edu/itep/main This Teen Vogue article is a nice introduction to land acknowledgements https://www.teenvogue.com/story/indigenous-land-acknowledgement-explained For more on the Land Back movement: https://landback.org/ This Flash Forward episode (with lots of links for further reading) https://www.flashforwardpod.com/2020/11/10/land-back/ The 2Land2Furious project by the Métis in Space podcast creators https://briarpatchmagazine.com/articles/view/back-2-the-land-2land-2furious http://www.metisinspace.com Jacquelyn would especially like to thank Katherine Crocker, who has deeply influenced her own thinking about Indigenous sovereignty and ethical partnerships. Check out her essay, Cricket Egg Stories: http://carte-blanche.org/hiyoge-owisisi-tanga-ita-cricket-egg-stories/

Dès le mois de décembre, nos chaînes de télé et nos plateformes de streaming préférées sont envahies par les films de Noël. Si c’est le plaisir coupable de certain-e-s, force est de constater que les représentations ne sont pas toujours très diversifiées. Dans ce dernier QDM de poche de l’année, Clémentine et Pauline décryptent ces films de Noël devenus des classiques à travers le prisme des féminismes. Les références de l’épisode :Newport Beach de Josh Schwartz et McG (2003-2007)HBO Max, « Chrismukkah Is The Best Holiday, The O.C, HBO Max », Youtube (2020) Happiest Season, de Clea DuVall (2020)Mon Beau-Père et moi, de Jay Roach (2001)Rachel Charlene Lewis, « « Happiest Season » Shows Queers Joy Is Sometimes Elusive », Bitchmedia (2020) Schitt’s Creek de Dan Levy et Eugene Levy (2015-2020) Aline Mayard, « Romcom de noël: les couples homos sont désormais les bienvenus », Cheek magazine (2020) Bad Moms de Scott Moore et Jon Lucas (2017)Home for Christmas, Per-Olav Sørensen et Anna Gutto, Netflix (2019) Holidate, de John Whitesell (2020) A Christmas prince de Alex Zamm (2018) Let it snow, Luke Snellin, Netflix (2019) Rachel Charlene Lewis, « « Holidate » Proves Netflix Hasn’t Nailed the Holiday Rom-Com », Bitch média (2020)Love Actually de Richard Curtis (2003) Family Man de Brett Ratner (2000)La vie est belle, Frank Capra (1947)Carol, de Todd Haynes (2016) Un conte de noël, d’Arnaud Desplechin (2008)A Very Murray Christmas de Sofia Coppola (2015) Jingle Jangle: A Christmas Journey de David E. Talbert (2020)Hot Chocolate Nutcracker: Casse-noisette revisité, de Oliver Bokelberg Fame, de Christopher Gore (1982-1987)Last holiday de Wayne Wang (2006)The Holiday Calendar de Bradley Walsh (2018)My One Christmas Wish, de James Head (2015)Ronda Racha Penrice, « Netflix Revitalized the Corny Christmas Special With Black Joy », Zora medium (2020)Happy Christmas, de Joe Swanberg (2014) Dash & Lily, de Joe Tracz (2020) Rachel Cohn, David Levithan, Davis & Lily, Michel Lafon (2020) Maman j’ai raté l’avion, de Chris Columbus (1990) Le père noël est une ordure, Jean-Marie Poiré (1982) Le père noël a les yeux bleus, de Jean Eustache (1966) The Holiday, de Nancy Meyers (2006) Tangerine de Sean Baker (2015)Les filles du Docteur March, de Greta Gerwig (2020)Louisa May Alcott, Les Quatre Filles du docteur March, Roberts Brothers (1868)Frank Olito, « Radio stations are banning ‘baby, It’s Cold Outside’ for its questionable language, but a historian says it was once a feminist anthem » , Insider (2018) Quoi de Meuf est une émission de Nouvelles Écoutes, cet épisode est conçu par Clémentine Gallot et présenté avec Pauline Verduzier.Mixage Laurie Galligani. Générique réalisé par Aurore Meyer Mahieu. Prise de son, montage et coordination Ashley Tola.

Please go to our website What Are Travis and Elaine Watching? for heaps of extra content!We having a Blue Christmas... tree!! Finally!  Our bright (and I mean bright) blue Christmas tree arrived, and as promised, here are a few pix of the blinding tree that we took while watching the Holiday Classic, Videodrome.(pix on our website)Says it allZappaWe went into this doc with high expectations, especially Elaine (a huge Zappa), and for the most part, it did not disappoint. We (especially Elaine) had a few complaints, but mostly they were "fan" complaints, like wanting to hear more of her favorite songs. We have had some great conversations with other fans in our family who are also members of our Facebook group. We highly recommend you join us.What Are Travis and Elaine Watching - Chat Group. Bee Gees: Mend A Broken HeartWe went into this doc, now playing on HBO MAX, with no expectations. We were pleasantly surprised. We learned a lot. The most illuminating segment involved the Disco Sucks movement.  We were impressed and saddened, and inspired. We're not the most traditional Holiday Movie watchers, as you can probably gather from our Videodrome tree trimming party.This year we are going to recommend you add Smoke to your holiday viewing list. Not only is it a tremendously overlooked film by Wayne Wang in its own right, but it also ends with one of the best Christmas stories ever.  First, it's told by Auggie (Harvey Keitel) to Paul (William Hurt), then we see it recreated, no dialogue under the end credits while Innocent When You Dream written and performed by Tom Waits plays.  The Beatles: Get Back, a documentary collaboration between the band and filmmaker Peter Jackson, went live on YouTube and Disney Plus on December 21! The film, originally scheduled for release in 2020, faced production delays caused by the coronavirus pandemic.Watch on our website.Happy Holidays and Cya next year!

Wayne Wang pone en imágenes el guión de Paul Auster basado en su propio relato, "Cuento de Navidad de Auggie Wren". En esta cinta independiente del sello Miramax juegan a mínimos: cinco personajes y un estanco les bastan para crear una historia memorable de casualidades y humanidad. David G. Panadero conduce esta Sesión Prótesis.

Guests are: Award-winning director Wayne Wang (The Joy Luck Club, Smoke and Chan is Missing), returns with COMING HOME AGAIN, a truly intimate, poignant glimpse at family life. Details on where and how to see film: https://www.outsiderpictures.us/movie/coming-home-again/ Second guest:  Tom Ferrell, CEO of the WorkShop Content Studios’. Some of their films include Basketball Or Nothing/Netflix; True North: The Sean Swarner Story/PBS, Amazon). He has a new project titled extraORDINARY / The Bill Atkinson Story. The inspiring documentary film is about the first quadriplegic priest to be ordained in the Catholic Church’s history. More details about how and where to see the film:  https://www.theworkshop.tv/current-projects

The Joy Luck Club is a 1989 novel written by Amy Tan. It was also eventually turned into a short story. It focuses on four Chinese American immigrant families in San Francisco who start a club known as The Joy Luck Club, playing the Chinese game of mahjong for money while feasting on a variety of foods. The book is structured somewhat like a mahjong game, with four parts divided into four sections to create sixteen chaptersThe Joy Luck Club (simplified Chinese: 喜福会; traditional Chinese: 喜福會; pinyin: Xǐ Fú Huì) is a 1993 American drama film about the relationships between Chinese-American women and their Chinese immigrant mothers. It was directed by Wayne Wang and stars Tsai Chin, Kieu Chinh, Lisa Lu, France Nuyen, Rosalind Chao, Lauren Tom, Tamlyn Tomita, and Ming-Na Wen. The film is based on the 1989 novel of the same name by Amy Tan,[2] who co-wrote the screenplay with Ronald Bass.https://caamedia.org/blog/2019/04/17/amy-tan-reflects-on-the-book-and-film-anniversaries-for-the-joy-luck-club/?fbclid=IwAR0quHmXzzl_wldR1cSZphTawT47KEYLxXcXWaYSuHW5rt_M64QeYVV94b0https://www.washingtonpost.com/wp-srv/style/longterm/movies/videos/thejoyluckclubrhinson_a0a844.htm?fbclid=IwAR2pNO10WLkmLzwWhODRBfGsnZ-ILYYVrUS2pCV9YpQvL8BGGvpZAnuLuBkhttps://www.npr.org/2018/08/18/639822957/the-connection-of-the-joy-luck-club-and-crazy-rich-asians?fbclid=IwAR0eMbgzrFGzgugljJm2Qg5ckDl1o3JRDQTuAukgDlWz1K0c68mZ6haBfoUTickets to Hers & Hers Towels - https://events.humanitix.com/hers-and-hers-towels

Today on KIOS at the Movies, Joshua LaBure sits down with Patrick Kinney and Diana Martinez of Film Streams in Omaha to talk about the new film by legendary director, Wayne Wang, Coming Home Again.

Mark Weber returns to the podcast to discuss his latest feature which he directed, wrote & acts in, "The Place of No Words". He's joined by his co-star Nicole Elizabeth Berger. Also, director Wayne Wang ("Chan is Missing", "Joy Luck Club") make this first appearance on the podcast to discuss his new film "Coming Home Again". Both films premiere on streaming platforms on 10/23.

With his new film Coming Home Again arriving in virtual release today, director Wayne Wang muses on the debt he owes to Chantal Akerman’s Jeanne Dielman, 23 Quai des Commerce, 1080 Bruxelles — a singular experiment in location and duration built around a deliberately opaque Delphine Seyrig performance. Your genial host Norm Wilner can’t wait to peel back the … Continue reading Wayne Wang on Jeanne Dielman, 23 Quai des Commerce, 1080 Bruxelles →

The legendary Wayne Wang (The Joy Luck Club, Smoke) joins Dan and Alonso to talk about his powerful new film COMING HOME AGAIN (premiering 10/23) and the inspiration he drew from Chantal Akerman's groundbreaking JEANNE DIELMAN (1975). Follow us @filmandmoviepod on Twitter, Instagram, and Facebook, and leave us a five-star review on Apple Podcasts or wherever you get your episodes.COMING HOME AGAIN premieres October 23 in virtual cinemas and theaters around the U.S.: https://www.outsiderpictures.us/movie/coming-home-again/JEANNE DIELMAN is available on The Criterion Channel: https://www.criterionchannel.com/jeanne-dielman-23-quai-du-commerce-1080-bruxellesWayne Wang recommends TOKYO STORY: https://play.hbomax.com/feature/urn:hbo:feature:GXnAn7gnKAMNVoAEAABp9Alonso recommends LAST YEAR AT MARIENBAD https://kanopy.com/video/last-year-marienbad-0 and GOLDEN EIGHTIES https://www.criterionchannel.com/golden-eighties

In episode six, Rebecca and Nathan welcome back Late Shift at the Grindhouse host Ross Meyer to finish sharing his favorite fright flicks. They also savor food and slower living in Wayne Wang's COMING HOME AGAIN, then journey to Italy for Pietro Marcello's lavish, Mediterranean take on Jack London's novel, MARTIN EDEN.

Erica Gimpel is an actor, singer-songwriter, producer and screenwriter. Known internationally for her performance as “Coco Hernandez” in the groundbreaking hit series FAME, Erica has gone on to star in numerous primetime and cable shows including: CHICAGO MED, SHUT EYE, TRUE BLOOD, CRIMINAL MINDS, GREY’S ANATOMY, NIKITA, RIZZOLI & ISLES, HOUSE, ER, PROFILER, and VERONICA MARS. Most recently Erica played "Trish" on the CBS drama GOD FRIENDED ME for two seasons. Film credits include: TUESDAY MORNING RIDEwith Ruby Dee, Wayne Wang’s SMOKE opposite Forest Whitaker, Abel Ferrara’s cult classic THE KING OF NEW YORK with Christopher Walken, Hal Hartely’s NO SUCH THINGwith Helen Mirren, FREAKY FRIDAY opposite Jaime Lee Curtis, ROMEO AND JULIET IN HARLEM, with Harry Lennix and Aunjanue Ellis. Next, Erica will be seen in SYLVIE'S LOVE with Tessa Thompson on Amazon Prime’s special Christmas release. Off-Broadway and Regional credits include: originating the roles of “Mayme” in Lynn Nottages’saward-winning INTIMATE APPAREL, “Glory Bee” in Sam Shepard’s STATES OF SHOCKopposite John Malkovich, and “Nelly” in Jose Rivera’s EACH DAY DIES WITH SLEEP. Erica received the Los Angeles Stage Raw Award for Best Solo-Performance, for her dynamic portrayal of multiple characters in the one-woman play SISTER by Michael Phillip Edwards. Having earned gold and platinum records for her work on FAME. Erica began producing her own music as a singer-songwriter. The title track from her debut album SPREAD YOUR WINGS AND FLY is featured in the indie film HILL and GULLY, anOfficial Selection at Pan African de Cannes. As a screenwriter, Erica is currently developing several projects through her company WOMANS PARADISE PRODUCTIONS, dedicated to creatingfemale driven stories that inspire hope, passion and healing. Erica is the recipient of the LA Femme Film Festival’s “INNOVATIVE AWARD”, and is also an active member of the world peace organization, the SGI-USA dedicated to pursuing the values of peace, culture and education. Over the years Erica has used her talents to highlight different causes near to her heart by creating and producing benefit concerts focusing on women’s issues, homelessness, child abuse and the rise is of racially motivated acts of violence. Knowing first hand the transformative power the performing arts has on young people's lives, Erica teaches and mentors young artists whenever her schedule permits.

Today we talk about Joy Luck Club (1993), directed by Wayne Wang and adapted from the book by Amy Tan. The stories of four Chinese immigrant mothers bridging the gap with their Chinese American daughters — we discuss the concept of the American dream, immigration, identity, language, culture, and more. Fillipinx author Jaime of upcoming novel "Mala and the Mask of Gold" hosts an invigorating conversation! "This feather may look worthless, but it comes from afar and carries with it all my good intentions”.

LADO A: leitura de oito poemas de Marília Garcia, no livro “Câmera lenta”. Voz: Piero Eyben. Sonoplastia, mixagem e trilha-sonora: Camille Ruiz. Citação de Jean-Luc Godard, “JLG/JLG: autorretrato em dezembro”. Citação do filme “Smoke”, de Paul Auster e Wayne Wang. Voz da vinheta: Heitor Walace Eyben.

Chris and Perry talk about Wayne Wang's 1995 indie "Smoke."

Esta semana en nuestra “Sección principal” os traigo una película que adoro, “Smoke” de Wayne Wang y Paul Auster. Se trata de una delicia que nos cuenta varias historias entrelazadas por algunos de los mejores personajes que yo he visto moverse en pantalla. Además en la sección, “Rodajes malditos” os hablo del rodaje de la que creo es la película más reciente que he traído, “Todo el dinero del mundo”. Se trata de la película que Ridley Scott rodó con Kevin Spacey cuando se descubrió la clase de depredador que era el actor. Finalmente en la sección “¿Qué fue de?” esta semana os contaré quien fue Alma Reville y hasta qué punto esta mujer al sombra de su marido, Alfred Hitchcock, es en realidad la auténtica ideóloga y responsable de la mayoría de las mejores escenas del cine de su esposo. Tiempos: Sección principal: del 00:02:49 al 02:38:07 Sección “Rodajes malditos”: del 02:38:08 al 03:56:42 Sección “¿Qué fue de?”: del 03:56:43 al 04:55:11 Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This week, 2 Guys 5 Movies flips the script and indulges itself with a new episode, the Top Five Movies that Chris Loves but Frank Hates. Due to their differing tastes, there's a lot of movies that Frank and Chris disagree on. Most weeks, it's Chris disagreeing with Frank's choices, but this week, the tables are turned. The list includes the Kurt Russell/Goldie Hawn comedy, Overboard, Wayne Wang's indy film, Smoke, Steven Spielberg's sci-fi classic, Close Encounters of the Third Kind, the Kathryn Bigelow sci-fi thriller, Strange Days, and the Jon Favreau/Vince Vaughn Gen-X comedy, Swingers. If you are a fan of the podcast, there are other two important ways you can help us. First, you can please subscribe, rate, and leave a review on your podcast client. That not only would be useful to us for the feedback, but also help us receive more attention. Second, if you like your Facebook page, 2 Guys 5 Movies, it would be helpful to like or share our posts so others can learn about 2 Guys 5 Movies and decide if it is for them. Finally, if you have your own ideas for the podcast, you can also email us with list suggestions at 2guys5movies@gmail.com, and thank you all for listening and your support.

Vídeos com ótimas reflexões, para transformar nossa quarentena em retiro de vida Interior! Assistam aos comentários filosóficos da professora Lúcia Helena Galvão sobre o filme O FANTASMA DA ÓPERA https://youtu.be/I1j3m_D0V1I FILOSOFIA EM QUARENTENA Alguns filmes de que eu gosto muito (Lúcia Helena Galvão Maya) Mais uma dica para estes “tempos bicudos”, como diria minha querida avó: que tal uma lista dos filmes que mais nos tocaram ao longo dos tempos? Vejam bem: esta é uma lista pessoal minha! Não são os “melhores filmes”, não me arvoraria a isso, mas os que me tocaram; cada um é livre para ter seus critérios, mas também para recolher algo de bom dos critérios alheios. Nem sei se todos são possíveis de se encontrar facilmente, mas dão uma interessante e válida busca. Nem preciso dizer que deixo implícito nesta lista todos os desenhos da Disney, é claro. Não coloco os filmes em uma ordem necessária, mas vou citar a medida que me lembro deles. Vamos lá: - “Excalibur”: aquele antigo (1981) de John Boorman. Não conheço nada melhor sobre este mito! Simplesmente lindo! - “El Cid”: filme de 1961, estrelado por Charlton Heston. Incomparável. - “O Mahabharata”, de Peter Brook. Recomendo a versão original, com quase seis horas de duração. Seis horas de quarentena muito bem empregada! - “Irmão Sol, irmã Lua”: Clássico de Zeffirelli de 1972, abordando a vida de São Francisco de Assis. Quem quiser seguir com Zeffirelli e assistir seu “Romeu e Julieta”, também está valendo! - “Yentl”: esse é um danado de um filme com a Barbra Streisand que jamais saiu da minha memória. Algo profundo e delicado, o amor ao conhecimento, é tratado aí. - “Caminhando nas nuvens”, de 1995, com Keannu Reeves. Um homem honrado tocando o mundo de um família tradicional... Vale conhecer! - “A Partida”, 2009, com trilha sonora de Joe Isaichi... Dispensa palavras. - “O mestre da música”, filme francês de Gérard Corbiau. Belo, simplesmente. - “Energia pura”, filme de 1995, de Victor Salva. Se não bastasse a bela história, a música composta por Jerry Goldsmith “mata”, literalmente. - “Jodhaa Akbar”: e olha Bollywood aí, genteee! Lindíssimo romance histórico indiano de 2008, envolvente e musicado de forma igualmente bela. Não dá para perder. - “A Princesinha”, uma pérola em forma de filme, de Afonso Cuarón, 1995. Ótimo para crianças, obrigatório para adultos. - “Em algum lugar do passado”: esse, embora bem mais conhecido, tem uns “millennials” por aí que ousam nunca ter ouvido falar. Um absurdo. EUA, 1980. Morram de chorar com a trilha sonora. - “Forrest Gump”. O que dizer deste filme? Simplesmente que ele não te larga mais pelo resto da vida. Coisa de gênio. EUA, 1994. - “My fair lady”: vão se passar mil anos e eu não pararei de curtir este filme. Divertido, inteligente, atores excelentes... Daquelas coisas que poucas vezes se faz, na história do cinema. EUA, 1965. - “O clube da felicidade e da sorte”: Wayne Wang, EUA, 1993. Delicado como uma flor caída num lago. Doloroso, mas também redentor. - “Orgulho e preconceito”: versão de Joe Wright, 2006. Eu seria falsa se não dissesse a vocês que eu dou um braço por este filme. O livro homônimo de Jane Austen é sua obra prima: ironia fina, retrato de costumes de uma época e de tipos humanos de todos os tempos. Vale: confira! Vou omitir alguns outros, também muito dignos de nota, mas tristes demais para momentos como este; há uma lista perfeita para cada momento da vida. Se alguém assistiu a algum deles, comente conosco! Um abraço! Corpos separados, corações unidos, mais unidos que nunca!

Richard Wong is an award-winning director and cinematographer. His newest feature, Come as You Are, premiered at SXSW and will be released by Samuel Goldwyn. His first feature was the critically acclaimed Colma: The Musical, which premiered at Sundance and garnered him nominations for a Spirit Award and a Gotham Award. Wong started his career in production and segued to being a cinematographer, lensing films such as the upcoming immigration drama Saint Judy for director Sean Hanish, starring Michelle Monaghan and Common, Girlfriend's Day with Bob Odenkirk, Spare Parts with George Lopez, Sundance favorite To the Bone for director Marti Noxon, starring Lily Collins and Keanu Reeves, and Snow Flower and the Secret Fan for acclaimed director Wayne Wang. Learn more about your ad choices. Visit megaphone.fm/adchoices

Aleysa "Best Quality Crab" Young, director of Baroness von Sketch Show, Workin' Moms, Cavendish, and the upcoming New Eden joins me to talk about the tearjerker that is The Joy Luck Club. 1993's Chinese-American answer to Steel Magnolias is heartbreaking in the best way. There are poisoned sticky dumplings, family secrets, concubines, curses, Lubriderm, moles, thousand-yard-stares, and even Ross's girlfriend Julie from Friends! 

Jennifer Lopez is having a triumphant 2019. From her Motown tribute at the Grammys to the success of “Hustlers” to the announcement that she’ll be performing at the Super Bowl halftime show, she seems to be enjoying the fruits of her labor from about three decades in show business. So we want to know: is Jennifer Lopez finally getting her due?Discussed this week:“How Jennifer Lopez’s Versace Dress Created Google Images” (Rachel Tashjian, GQ, Sept. 20, 2019)“Hustlers” (directed by Lorene Scafaria, 2019)Jennifer Lopez’s Motown Tribute at the 2019 Grammy Awards“Jennifer Lopez Talks Engagement, Diddy’s Instagram Comments, Bonding With Cardi B + More” (Breakfast Club, Apr. 10, 2019)“‘Hustlers’ Has a Strong Opening at the Box Office” (Gabe Cohn, The New York Times, Sept. 15, 2019)“Alex Rodriguez and Jennifer Lopez Announce Their Engagement” (The Associated Press, March 9, 2019)“Selena” (directed by Gregory Nava, 1997)“Movies (And Other Things)” (Shea Serrano, 2019)“Waiting for Tonight” (Jennifer Lopez, 1999)“1999” (Prince, 1982)“Out of Sight” (directed by Steven Soderbergh, 1998)“Monster-in-Law” (directed by Robert Luketic, 2005)“The Wedding Planner” (directed by Adam Shankman, 2001)“Maid in Manhattan” (directed by Wayne Wang, 2002)“Gigli” (directed by Martin Brest, 2003)“Jenny from the Block” (Jennifer Lopez, 2002)“Play” (Jennifer Lopez, 2001)“Rap Performer Puffy Combs Is Arrested After Shootings at Times Sq. Nightclub” (William K. Rashbaum, The New York Times, Dec. 28, 1999)“El Cantante” (directed by Leon Ichaso, 2006)“American Idol” (Jennifer Lopez as judge in Seasons 10-11 and 13-15)

Road movies with non-white casts. Spike Lee’s Get On the Bus and Wayne Wang’s Chan is Missing. Get on the Patreon. Spike Lee’s contemporaneous Million Man March film is a bottle film and road film. But it’s not a Circle. … Continue reading →

"La PALABRA convence, pero el EJEMPLO arrastra". (Anónimo)¡Muy buenos días a todo el mundo, soy Nacho Serapio Director y Fundador de Dragonz, y te doy la bienvenida a un nuevo episodio de Dragonz Magazine, TU PROGRAMA, de artes marciales y deportes de contacto. Hoy es martes 26 de febrero de 2019 y vamos por el programa número 462!Y el programa de hoy, se lo vamos a dedicar a… ¡Mark Dacascos! protagonista de grandes títulos como “Solo el más fuerte”, “Crying Freeman”, y otros tantos… vamos, que soy muy fan suyo. Pues tal día como hoy, pero en 1964, nacía este actor marcial estadounidense. Entre los siete y los dieciocho años ganó varios campeonatos de karate y kung fu. Alcanzó la fama por el personaje de Eric Draven en la serie El Cuervo: Escalera hacia el cielo.Desde enero de 2005 Dacascos interpreta al presentador del programa Iron Chef producido por la cadena Food Network. Dacascos también participó en la novena temporada del programa de la televisión estadounidense Dancing with the Stars del cual fue eliminado en el séptimo capítulo.El padre de Mark, Al Dacascos, es un instructor de artes marciales hawaiano de ascendencia china, española, griega y filipina. Su madre, Moriko Mack-Vey Murray tiene ascendencia irlandesa y japonesa. En un reciente documental del Canal Historia se ha revelado que la familia de su madre murió durante el bombardeo nuclear de Hiroshima. Sus padrinos fueron el campeón de artes marciales Malia Bernal y la cantante hawaiana Melveen Leed. Dacascos asistió a la Universidad Estatal de Porland, en Portland, Oregón, donde estudió arte dramático y chino.Dacascos comenzó su carrera de actor cuando fue descubierto mientras caminaba por Chinatown de San Francisco por dos asistentes del director Wayne Wang. Tras eso comenzó a labrarse una reputación como actor especializado en escenas de artes marciales. En 1992 interpreta a Kenjiro Sanga en la película Samurai Americano protagonizada por David Bradley, su salto a la fama se dio en 1993 cuando hizo el papel del experto en capoeira Louis Stevens en la película Sólo el más fuerte. Tras eso vendrían otros papeles protagonistas en películas como Double Dragon, Kickboxer 5 y Crying Freeman.Entre 1998 y 1999 desempeñó el papel de Eric Draven, protagonista de los 22 capítulos de El cuervo: Escalera hacia el cielo. En 2002 fue nominado a mejor actor secundario en los Saturn Awards por su papel como Mani en la película francesa El pacto de los lobos. En 2003 apareció en la película Nacer para morir donde protagonizó un duelo contra Jet Li.Fuera del cine de artes marciales obtuvo fama por presentar el concurso de cocina Iron Chef America desde 2005. En 2008 aparece en la serie La leyenda de Bruce Lee. En 2009 aparece en varios capítulos de la serie Kamen Rider: Dragon Knight, encarnando al personaje de Eubulon. En 2010 aparece en la película de acción y comedia Action Hero como el escritor Clouseau, dirigida por Brian Thompson.También actúa en la serie Hawai 5-0 interpretando a Wo Fat, enemigo de Steve McGarrett, uno de los protagonistas principales.En el 2013 encarnó a Kung Lao, personaje del famoso videojuego "Mortal Kombat" para la miniserie on line "Mortal Kombat Legacy".En 2015 se unió a la tercera temporada de la serie Agents of S.H.I.E.L.D., de la cadena ABC, en el papel de Mr. Giyera.Y después de un poco de información cinematográfica, vamos al tema de hoy, y es que mientras preparaba el programa, ha surgido el tema en grupo privado de la Comunidad Dragonz, de hacer certificados a la gente que vaya completando los cursos… y prefiero comentarlo en el programa, porque me parece un tema muy interesante.¡Pero antes! Hablando de cursos… hoy toca la 3ª lección del Curso de Técnica Shaolin básica que imparte el profesor Dani Galindo, así que… ¡no os lo perdáis!¡Solo en Dragonz.es! ¡más de 600 video-tutoriales y más de 50 cursos! Y podéis disfrutar de ello en TARIFA PLANA de 10€/mes.Cada semana tenéis 5 nuevas lecciones online con teoría, video-tutoriales y soporte personalizado, además de contenidos extra como artículos en el blog, y libros para descargar, nuestra comunidad privada, y por supuesto… ¡nuestra revista mensual enviada GRATIS a tu domicilio! todo lo que necesitas para aprender artes marciales y deportes de contacto o complementar la disciplina que estés practicando, en cualquier lugar y a cualquier hora!Si todo esto os parece interesante, podéis probar un mes, porque no hay compromiso de permanencia y podréis borraros cuando queráis, vamos, el Netflix y Amazon de las artes marciales y deportes de contacto. Y para terminar, comentaros que podéis escucharnos en Ivoox, Itunes, Spotify, Soundcloud, Spreaker, Youtube, Stitcher, IHeartRadio, LisentNotes, Google Podcast, PlayerFM, CastBox y Sport Direct Radio en la 94,3 FM en Málaga y toda la Costa del Sol .Todos ellos tienen su formato de dar valoraciones de 5 estrellas o like… ¡y de comentar! así que por favor hacerlo, que me hace mucha ilusión, y nos ayuda a posicionarnos bien, y a que más oyentes nos conozcan. Y ya sin más...¡Hasta mañana guerreros!GANBARUUUUUUU