『Eavesdropping at the Movies』のカバーアート

Eavesdropping at the Movies

Eavesdropping at the Movies

著者： Jose Arroyo and Michael Glass
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"I have this romantic idea of the movies as a conjunction of place, people and experiences, all different for each of us, a context in which individual and separate beings try to commune, where the individual experience overlaps with the communal and where that overlapping is demarcated by how we measure the differing responses between ourselves and the rest of the audience: do they laugh when we don’t (and what does that mean?); are they moved when we feel like laughing (and what does that say about me or the others) etc. The idea behind this podcast is to satiate the urge I sometimes have when I see a movie alone – to eavesdrop on what others say. What do they think? How does their experience compare to mine? Snippets are overhead as one leaves the cinema and are often food for thought. A longer snippet of such an experience is what I hope to provide: it’s two friends chatting immediately after a movie. It’s unrehearsed, meandering, slightly convoluted, certainly enthusiastic, and well informed, if not necessarily on all aspects a particular work gives rise to, certainly in terms of knowledge of cinema in general and considerable experience of watching different types of movies and watching movies in different types of ways. It’s not a review. It’s a conversation." - José Arroyo. "I just like the sound of my own voice." - Michael Glass.All rights reserved アート
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  • 476 - Disclosure Day

    476 - Disclosure Day
    2026/07/07
    Steven Spielberg returns to science fiction with Disclosure Day, an ambitious alien thriller that consciously recalls Close Encounters of the Third Kind, still one of his defining films fifty years on. We marvel at its extraordinary visual storytelling, virtuoso camerawork and sense of cinematic wonder, while asking whether its ideas about conspiracy, religion, the media and empathy are as sophisticated as its technical brilliance. We also revisit the perennial debate between CGI and practical effects, and consider the different worlds in which Disclosure Day and Close Encounters were made and released. Is Spielberg's enduring belief in communication and human connection still resonant in an age of fractured media and competing truths? Recorded on 13th June 2026.
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    1 時間
  • 278 - Rocky - Part I: Rocky

    278 - Rocky - Part I: Rocky
    2021/02/27
    In this first of our two-part discussion of the Rocky films, we look at the film that began the series almost 50 years ago. There's a lot about 1976's Rocky that... isn't that good. John G. Avildsen's direction is drab, the story basic, the themes rudimentary - but with that comes a roughness and a sincerity to the whole affair that might be just what makes it work after all. Sylvester Stallone's Rocky is a physical brute, softened by his unusual - and unusually pretty - features, his inability to avoid trying to befriend any animal that crosses his path, his demeanour that's at once confident and shy, and his intellectual simplicity. José argues that the boxing is a diversion, a Trojan horse within which to sneak Rocky and Adrian's love story. And we think about the character of Apollo Creed, his use as a substitute for Muhammad Ali, and why he couldn't have been white. Rocky was a phenomenon upon its release, an immediate cultural touchstone that contains images and scenes so iconic that, five decades on, we continue to attach the same emotions to them and draw the same pleasure from recalling them. Well, we say "we", but, as is typical, Mike has never seen it before. So while José revisits, Mike joins the party for the first time, and we discuss the quality, significance and impact of this iconic film. Recorded on 21st February 2021.
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    49 分
  • 277 - News of the World

    277 - News of the World
    2021/02/19
    Why this film was made... is rather beyond us. News of the World invokes the era of fake news in name only, its premise - following the Civil War, a former Confederate captain travels the American south reading out newspapers for a living - interesting in principle but almost entirely ignored in favour of a by-the-numbers, surrogate father-daughter road movie. Paul Greengrass' direction, eschewing the style and energy that made him famous, is barely an impersonation of that of classic Westerns, full of landscapes and sunsets, signifying nothing; Tom Hanks is as tediously noble and upstanding as ever, his character's supposedly shady past alluded to rather than detailed, allowing us to feel pleased for his redemption without ever having to dislike him for what he needs to be redeemed for. Helena Zengel, the German youngster who plays Hanks' mysterious companion, is a highlight, a presence you can't take your eyes off - though her character is as thinly sketched as everything else. News of the World is bad, but not offensively so. It's an unending stampede of clichés and tropes, unthinkingly employed and uncreatively executed. We don't like to advise people stay away from films, but if this is next on your list, we assume you have already seen every other film ever made. Recorded on 14th February 2021.
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    29 分
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