Simone Cleary (Kate Hudson) greets Shriver (Michael Shannon) in Michael Maren’s whimsical A Little White Lie
Michael Maren’s whimsical A Little White Lie (adapted from Chris Belden’s book Shriver) stars Michael Shannon (also a producer), Kate Hudson (executive producer), Don Johnson, and M Emmet Walsh with Kate Linder, Romy Byrne, Mark Boone Junior, Da'Vine Joy Randolph, Jimmi Simpson, Wendie Malick, and Zach Braff.
Honoré de Balzac, Jerzy Kosinski and Hal Ashby’s Being There, starring Peter Sellers (shown to Olivia Colman by Toby Jones in Sam Mendes’s Empire Of Light), The Landlord, Harold And Maude, Linda Lavin and Harris Yulin in A Short History Of Decay, Max Frisch’s I’m Not Stiller and Call Me Gantenbein, John Barth’s Giles Goat-Boy, James Joyce’s Finnegan’s Wake and Ulysses, Marcel Proust’s Remembrance Of Lost Time, Robert Musil’s The Man Without Qualities, Charlotte Perkins Gilman’s The Yellow Wallpaper,...
Michael Maren’s whimsical A Little White Lie (adapted from Chris Belden’s book Shriver) stars Michael Shannon (also a producer), Kate Hudson (executive producer), Don Johnson, and M Emmet Walsh with Kate Linder, Romy Byrne, Mark Boone Junior, Da'Vine Joy Randolph, Jimmi Simpson, Wendie Malick, and Zach Braff.
Honoré de Balzac, Jerzy Kosinski and Hal Ashby’s Being There, starring Peter Sellers (shown to Olivia Colman by Toby Jones in Sam Mendes’s Empire Of Light), The Landlord, Harold And Maude, Linda Lavin and Harris Yulin in A Short History Of Decay, Max Frisch’s I’m Not Stiller and Call Me Gantenbein, John Barth’s Giles Goat-Boy, James Joyce’s Finnegan’s Wake and Ulysses, Marcel Proust’s Remembrance Of Lost Time, Robert Musil’s The Man Without Qualities, Charlotte Perkins Gilman’s The Yellow Wallpaper,...
- 3/18/2023
- by Anne-Katrin Titze
- eyeforfilm.co.uk
The least well understood skill in podcasting has its own show. Sound Judgment explores the craft of hosting, asking, “What does it take to become a beloved podcast host?” Veteran public radio producer Elaine Appleton Grant (above) goes behind the scenes to dissect one episode at a time with today’s most compelling hosts.
Together, Grant and her guests unpack the creative choices that shape storytelling and sound, such as authenticity, point of view, scripting, performance, field reporting, interview skills, revisions, co-hosting dynamics, and more.
Season 2 kicks off January 12 with revered storyteller and host, Glynn Washington of Snap Judgment; National Speaker Association Hall of Famer and podcast host Jay Baer; a conversation with Juleyka Lantigua about How to talk with [Mami and Papi] about Anything, and a collaborative episode with award-winning host Jodi Krangle of Audio Branding.
Season 1 featured Lemonada's Stephanie Wittels Wachs, host of Last Day; former Prx chief content officer and founder of Marketplace,...
Together, Grant and her guests unpack the creative choices that shape storytelling and sound, such as authenticity, point of view, scripting, performance, field reporting, interview skills, revisions, co-hosting dynamics, and more.
Season 2 kicks off January 12 with revered storyteller and host, Glynn Washington of Snap Judgment; National Speaker Association Hall of Famer and podcast host Jay Baer; a conversation with Juleyka Lantigua about How to talk with [Mami and Papi] about Anything, and a collaborative episode with award-winning host Jodi Krangle of Audio Branding.
Season 1 featured Lemonada's Stephanie Wittels Wachs, host of Last Day; former Prx chief content officer and founder of Marketplace,...
- 1/8/2023
- Podnews.net
The Beach BumEarly in his career, Harmony Korine was drawn to freaks—the aberrant and anomalous, the people who live (often badly) on the periphery of the mainstream. Hailing from Tennessee, he seemed to be saying, “Gooble gobble, one of us.” At the age of 19, Korine wrote the script for Larry Clark’s notorious Kids (1995), which concerns a freckle-faced, HIV-positive skateboarder with a penchant for having unprotected sex with virgins. The film was met with reverence and revulsion, and launched Korine’s career. Two years later, he released his debut feature as a director, Gummo, which is about two teens (Jacob Reynolds and Nick Sutton) who live in a tornado-ravaged city in Ohio. Korine wanted to portray the kind of life he knew as a child. It’s a scabrous film of vignettes that recall Mark Twain, yet more horrific—a montage of stupidity done in the face of unrelenting...
- 3/28/2019
- MUBI
For its second edition, the Oak Cliff Film Festival in Dallas, Texas (which produced an amazing bumper video), has added some rarely-seen older films to a lineup built around local premieres of Joe Swanberg's Drinking Buddies and Bobcat Goldthwait's Willow Creek. The repertory screenings, a 35mm specialty of the Texas Theatre, sound fantastic. Robert Altman's McCabe & Mrs. Miller looks absolutely splendid on 35mm -- I saw it a few years ago in Los Angeles and it was revelatory on the big screen -- and this screening will be hosted by muti-talented filmmaker David Lowery (Ain't Them Bodies Saints), with Keith Carradine in attendance. End of the Road (1970), based on a novel by John Barth, stars Stacy Keach and James Earl Jones; Roger Ebert...
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- 5/15/2013
- Screen Anarchy
Blu-ray & DVD Release Date: Sept. 18, 2012
Price: DVD $19.97
Studio: Warner
James Earl Jones (l.) looks into Stacy Keach's condition in End of the Road.
A cinematic counter-culture milestone, the 1970 comedy-drama cult film End of the Road resonated with members and fans of the counter-culture movement and was viewed as controversial and even shocking at the time of its release.
The film focuses on Jacob Horner (Stacy Keach, The Long Riders), a recent graduate of Ivy-league university. Graduation doesn’t appear to have set Jacob along on any specific path, as we first see him waiting on the platform of a New England train station in a catatonic state. Standing there for days without moving like a human sculpture, he’s an art installation of sort representing broken promise. Doctor D (James Earl Jones, Cry, The Beloved Country) soon discovers him and takes him back to “the farm of psychic remobilization.
Price: DVD $19.97
Studio: Warner
James Earl Jones (l.) looks into Stacy Keach's condition in End of the Road.
A cinematic counter-culture milestone, the 1970 comedy-drama cult film End of the Road resonated with members and fans of the counter-culture movement and was viewed as controversial and even shocking at the time of its release.
The film focuses on Jacob Horner (Stacy Keach, The Long Riders), a recent graduate of Ivy-league university. Graduation doesn’t appear to have set Jacob along on any specific path, as we first see him waiting on the platform of a New England train station in a catatonic state. Standing there for days without moving like a human sculpture, he’s an art installation of sort representing broken promise. Doctor D (James Earl Jones, Cry, The Beloved Country) soon discovers him and takes him back to “the farm of psychic remobilization.
- 7/16/2012
- by Laurence
- Disc Dish
"This was never a fun place. Oh, they had a pool and everything, but it was never fun."
The title 11 Harrowhouse (1974) has a grim sound to it, but it's a largely light movie, tipped over from heavy heist to comic caper by the onscreen presence and script contribution of Charles Grodin. But more on him later.
Director Aram Avakian made only a few films (this was his last), including an adaptation of John Barth's End of the Road (1970) scripted by Terry Southern that's soon to be reissued courtesy of Steven Soderbergh, and Cops and Robbers (1973), adapted from Donald Westlake's novel by the author himself. His strongest suite as filmmaker was his editing, hardly surprising since he was an editor himself, cutting early films by Coppola and Arthur Penn.
In his untrustworthy memoir The Kid Stays in the Picture, Robert Evans recounts firing Avakian from The Godfather, after a Machiavellian attempt to get Coppola fired.
The title 11 Harrowhouse (1974) has a grim sound to it, but it's a largely light movie, tipped over from heavy heist to comic caper by the onscreen presence and script contribution of Charles Grodin. But more on him later.
Director Aram Avakian made only a few films (this was his last), including an adaptation of John Barth's End of the Road (1970) scripted by Terry Southern that's soon to be reissued courtesy of Steven Soderbergh, and Cops and Robbers (1973), adapted from Donald Westlake's novel by the author himself. His strongest suite as filmmaker was his editing, hardly surprising since he was an editor himself, cutting early films by Coppola and Arthur Penn.
In his untrustworthy memoir The Kid Stays in the Picture, Robert Evans recounts firing Avakian from The Godfather, after a Machiavellian attempt to get Coppola fired.
- 7/28/2011
- MUBI
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