Guide Too Hot to Handle: True Stories as Told to Madame B

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Amy Sherman-Palladino : Right. See, on our show, the masters are the scene. We spend a lot of time on our masters. Amy Sherman-Palladino : Depends on the scene. There are certain things emotionally that play better in a long take, but there are also certain jokes that can play better if you have more cuts in a scene. Sometimes a cut can actually help a joke, even if the timing is great in the master. Amy Sherman-Palladino : But we almost never get coverage just to have it. We see the master, we rehearse it with the actors.

We rehearse a lot on our show. Our actors are theater people and they like to rehearse, so we actually spend a great deal of time working it out, rehearsing, making sure everything plays, then rehearsing again with the camera. You have some scenes that play big comedic moments in one long take, whereas most filmmakers would have done it with cuts. Daniel Palladino : That episode was directed by Scott Ellis. Was that a risk in this scene? I think cutting to his reaction would have diminished the humor in that particular instance. A lot of our stuff is just about holding on time, holding on moments, making sure the moments happen really quickly and on top of each other, as they would if they were occurring right in front of you.

Let me segue now to ask about a different kind of long take. But you chose to stay outside of it. Daniel Palladino : It was a little perverse for us to attempt it! There was something about that picture postcard cottage that made me want to try shooting this way. Also, people talk about our camera movement so much that Amy and I wondered, What if we just locked off the camera and blocked a scene where these people are just moving in?

How would that feel? We wanted to see how long we could do a shot like that before it loses its potency. It is as you see it. The dialogue is basically as it was recorded in that scene.

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And it just seemed like a fun, different maneuver. Because we never went to film school! You have a lot of musical numbers on this series, particularly in season two, and a lot of scenes where people are dancing. The variety show even has a dance number. I wonder, is that a real dance that existed, or did you make it up for the show? We have a brilliant choreographer named Marguerite Derricks. In episode six , when Joel and Midge dance together, the dominant color is blue. He knows that we have great love of MGM musicals and Technicolor musicals.

Amy Sherman-Palladino : Sometimes! Sometimes blue is okay! The Catskills was just starting to dismantle around the time when this scene takes place, and it took about 20 more years for it to all go away. Why the difference? Amy Sherman-Palladino : For the first alleyway scene with Midge and Rose, the look came about because of our production designer, Bill Groom.

So he was looking specifically for places that would have the opportunity to do a shot like that, knowing that David Mullen could light the shit out of that kind of thing. And we also wanted something that felt bohemian. Remember, Rose is in France, going back to her bohemian roots in a lively, clubby part of Paris. We thought the scene should have had color and energy because Midge was about to take that walk downstairs and go into the drag club for the first time.

And then at the end of that episode, the look of that alley shot was important because it was [Midge] putting herself and Joel back on equal footing. Are the actors incredible athletes who got solid hits on every single swing, or are some of those balls digital? Amy Sherman-Palladino : Some of those balls are digital. What happens to the balls they missed?

Brands might share this information with Gleam, but not always. T he Gleam Futures office is a sleek, open-plan space on the sixth floor of a modern block in Fitzrovia, with views across the rooftops of London. Scented candles burned, a pop playlist looped, everyone seemed to possess the same giant water flask.

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Smales — a youthful father of two with a professional casualness about him — has the corner office, a glass box containing an elegant vintage desk lamp and a large ornamental wooden hashtag adorned with light bulbs. The pair, makeup artists from Norwich, began filming themselves 12 years ago after a friend asked Sam how to do a smokey eye and she posted the first of countless YouTube tutorials.

Gleam expanded quickly, partly because its first batch of talent were, literally, a family.

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Sam and Nic introduced Smales to their brother Jim Chapman, who was hating his job in insurance, and his girlfriend, Tanya Burr, who was making YouTube videos while saving up to go travelling. Commercially, the innovation was radical. Viewers, it turned out, trusted recommendations from their friends, or from people who felt like their friends, more than other forms of advertising. Through Pixiwoo, Smales had an early realisation that came to define how Gleam chose their talent. It was vital to find people who could both be and seem themselves. The sisters established their personal brand, grew their audience from a few thousand to 2.

Someone at Gleam had cut out the article and placed each page in a plastic wallet in a black folder which they displayed on a coffee table in the office reception. It was touching, somehow, to see the corporate pride in a newspaper magazine feature, when approximately 1. But since Instagram developed video features Stories in and IGTV last year , hit a billion users and became the dominant platform for influencer advertising spend, Gleam is now as likely to sign talent on the basis of their Instagram alone. Gleam do not like their talent to be dependent on a single platform, however.

Variety is key: television shows, beauty products, books. So many of their talent want to write books that Gleam recently established a kind of in-house literary agency, Gleam Titles. Mrs Hinch looms large at Gleam: the star of the hour. Sophie Hinchliffe — a year-old former hairdresser from Essex — first reached out to the agency early last year when she had around , Instagram followers. Hinchliffe is the model influencer for the current moment. Her content , now broadcast to her 2. Watching Mrs Hinch is like slipping into a pleasant but inescapable dream, both baffling and oddly comforting.

In between offering swipe-up deals on mops, Mrs Hinch takes her followers round the Morrisons cleaning aisle, thanks them constantly and always says good night. Commercially Mrs Hinch is a gift, too, opening up a new sector of potential brand partnerships for Gleam to negotiate. In the Gleam office, piles of PR gifts for Mrs Hinch were arrayed on a window-ledge, including a twist mop, litre collapsible bucket and collapsible dish drainer. Luckily, Hinchliffe has understood that staying grounded is not just psychologically advisable but professionally essential — that the person who an audience and a brand buy into must not be too quickly altered by success.

B ut even Instagrammers change. Saccone and Jonathan Joly started out in as a young couple living in a flat in Cork, uploading YouTube videos of daft skits and Anna doing her makeup. Their skill is to make you feel almost part of the family, handheld footage taking you into bathrooms and bedrooms, to sit at the kitchen table with their kids.

Months of household minutiae are carried by moments of drama — moving house, the births of four children, even a miscarriage. Thanks to partnerships with family-friendly brands such as Pampers and Febreze Fabric Refresher, the Saccone-Jolys now film themselves in a newly renovated Surrey mansion. There are mentions of staff. Earlier this year, the Saccone-Jolys announced that, given time pressures, they were only going to post videos on the family channel every other day rather than daily. Shortly afterwards, Saccone said that she was going to stop posting to her own YouTube channel altogether.

She was overstretched, and wanted more time with her kids. She simply wanted to cut the time she spent editing videos. It was just one of many shifts in her life. This film version closely follows Flaubert's novel and includes most of the famous scenes, such as the wedding, the ball, the agricultural fair, the operation on the clubfoot, and the opera in Rouen.

As she should. As with any great work of literature, this story has been adapted again and again. But I might have to say this is the definitive version, almost epic in its length and breadth, and a solid attempt to stay true to the novel. Typically I favor earlier in carnations, and by there were many At first glance, "Madame Bovary" may seem like an atypical project for Claude Chabrol: a costume drama with no murders at all though there are a couple of deaths, plus an amputation! But if you look closer, you can see that the meticulous production, the elegant camera work, the morally complex characters, the extramarital affairs, the methodically and at times excessively slow pacing, they are all characteristically Chabrolian.

This film is not just based on a book, it feels like a book on the screen, with its linear, one-thing-after-the-other structure and the unidentified narrator commenting on the action from time to time. The exquisitely beautiful Isabelle Huppert gives us an intelligent take on the title character; the rest of the cast is fine.

Not exactly an exciting movie, but a worthwhile and beautifully made one. Good but lacks appeal Sleepy 9 March Isabelle Huppert plays the part very coldly, which makes the story more distant. She seems to view romantic sexual pleasure as something to be acquired instead of experienced. The medical scenes, however, are very well done and almost shocking in the staid context of the film's sensationless depiction of marital infidelity.

Other Bovarys Jennifer Jones and Frances O'Connor have been much more sensual, whereas Isabel is pretty but it never seems that having sexual intercourse with her would be fun.

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Sorry to put it so crudely, but I always thought that sexual attraction was the point of the story, and also the source of its tragedy. I am usually the most avid of Chabrol fans, but with Madame Bovary he finally made a real turkey. This film is dull dull dull. I probably could have abided the tediousness and the fastidious faithfulness to the book if the film had a lead actress who was even remotely credible in the lead.

But Huppert is woefully miscast as Emma.

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Emma Bovary is supposed to be a passionate woman who recklessly throws herself into adulterous affairs. Huppert plays Emma as an ice princess, about as passionate as a bowl of oatmeal! Huppert achieves the astonishing feat of maintaining the same facial expression throughout the film; at times I wondered if her facial muscles were paralyzed.

This would have been a perfect role for Isabel Adjani Read the book instead. Red-Barracuda 24 January Madame Bovary enters an unhappy marriage to move up the social ladder. From here she indulges in a number of illicit affairs that leads to serious complications. First off I have to say that I don't really know anything about the novel from which this was adapted.

From what I have briefly read it seems that it was considered unfilmable for some reason. Having seen this movie now, it does have to be said that it is a slightly odd costume-drama. Its story isn't especially romantic and it's not the most focused narrative overall. While I would say that Isabelle Huppert puts in a strong performance in the lead role, it's quite difficult really caring too much what happens to her. None of the characters in the film are particularly sympathetic. I guess the blame for this has to go to director Claude Chabrol.

I have seen several of this director's movies from his late 60's early 70's heyday and have to consider myself a fan. All of those films were morally complex but contemporary stories. Madame Bovary shares some of the moral ambiguity but has an unfamiliar period setting. Chabrol directs the film in a somewhat cold manner, making it difficult to empathise with anyone. However, that said it's still a compelling film. The first half is pretty ponderous but it picks up steam in the second as the twists and turns in Madame Bovary's life are ramped up. So not classic Chabrol by any means but an interesting diversion all the same.

This movie was really deceptive to me. After watching it, I thought that they both failed. I explain myself : Huppert is too pragmatic and cold to play this role.

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It seems like she plays every single scene as if she knew what kind of effect she will have on the people around. It's quite borrying. Emma Bovary is not Nana from Zola's novel , she is someone who is not so interested in success, she is far more interested by passions. She is a woman living in dreams and thinking than life can be passionate as novels.

I read the novel just a week before and I think that Flaubert describes well the fact that Emma Bovary is only interested in herself, in her feelings and in a "romanesque" conception of love. Huppert is far too pragmatic and not really romantic. Some scenes look "grotesque" as the one when after dancing with the Baron, she almost faints. It looks like Huppert uses a trick, which makes the scene look false.

Moreover, she was probably too old to play the part of Emma Bovary in the novel, Emma Bovary is twenty or thirty, surely not forty years old. Huppert got the part when she was almost forty and she looks too self-assured to play it well. For example, when she says to Rodolphe that she could have given her life for him, she bugles like mad woman though Emma is a passionate and really weak person. By never showing her weakness, Huppert don't find the good way to play this character.

Isabelle Adjani would have probably been too passionate and not enough dreamy to play that part. Jeanne Balibar would have been great too. The other problem is in the way the movie is directed. The beginning of the story is all summed-up by Chabrol who doesn't show the fact that Emma Bovary and her husband Charles are far far different. The voice-over is not a great idea to explain that situation I think that Huppert and Chabrol were probably too confident to make that movie and that's probably why it can be so deceptive. The cinematography is not so intense and it looks like a movie made for TV.

It could have been a quite good adaptation for a movie made for TV and released on a week evening but it's really not enough for a Cinema movie, made by two masters of Cinema. What I do know is that I was hugely moved by her. I felt actually like I was watching one of my close friends in a different incarnation. Emma's journey was poignant and fascinating. She seemed somewhat apart from the world, not inimical to it at all, but I guess recognising that her surroundings were somewhat arbitrary, and any role she had just that, a role.

You would not exactly describe her as abundantly kind, but there seemed a complete absence of malice in her, a curiosity about life, without verging on recklessness, open-mindedness without verging on foolishness. She recognised the importance of duty without becoming a petit-bourgeois, brought up her daughter without blaming her despite her distaste for child rearing. It seemed her fate to not be satisfied for long, to be up and down, perhaps even what today we might call manic depression had a part to play.

Her relationships never seemed satisfactory, and often she was wronged, particularly by Rodolphe. However I felt that she was restless enough that there would be no satisfaction. You know it's a great movie when it reminds you of someone you know, and the nuance sticks with you so long.

There is also that being a romantic is a very dangerous thing to be if your powers of estimation of the other sex are faulty I aim this comment at myself too! Emma Rouault meets Charles Bovary, a country doctor, when he comes to set her father's broken leg. Emma, who is bored in her surroundings, sees the doctor as her escape from a life in a farm that holds no attractions in her view. She decides to marry the simple man and move away. Emma does not love Charles, as it becomes too apparently after they have settled in a small village.

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The prospect of attending a ball given by a local marquis, lets her see the gilded life of moneyed gentry she secretly craves. Unfortunately, it is short lived because no further socializing comes from that event. Moving to a bigger town near Rouen brings her in contact with Rudolphe Boulanger, a man that will awake in her longings she never knew she had.

The affair, which runs hot and heavy does not last; Rudolphe has seen the danger in the involvement, so he leaves her. Emma discovers a different life in Rouen. Charles had taken her to the opera where she meets Leon Dupuis, who hails from Yonville. The attraction both feel about one another is mutual.

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Emma embarks in a double life in cheating Charles with the younger man. Extending herself in a lavish life comes back to haunt her, as merchant Lheureux comes to collect money she does not have. Emma finds herself against a wall and the only way out is to pay dearly for her bad judgment.