# Dirigido ¿por?

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 10 Jun 2024, 35 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60328141/lloviendo_quien_dirigio.mp3

En el programa de hoy de Lloviendo cine nos preguntamos ¿Quién dirigió esta película? Porque vamos a traer películas bien conocidas, en ocasiones películas de culto, en ocasiones auténticos bombazos de taquilla de las cuales no sabemos o no recordamos el nombre de sus directores. Y en algunas de esas ocasiones nos llevaremos alguna que otra sorpresa. Las músicas del podcast proceden de: https://musopen.org/music/2635-piano-concerto-no-21-in-c-major-k-467/ https://freemusicarchive.org/music/Jahzzar/Home https://evokemusic.ai/music

## Transcript

[0:10] Let' s go, but we stay because here begins one more show of
[0:31] your favorite podcast I watching end, to which you are all pertinent inconveniently invited.
[0:37] You don' t need any kind of entrance. You don' t
[0:41] need any kind of permission. You know how the doors are wide open one
[0:45] more show of raining cinema in which we have thought about talking about movies and
[1:04] after its directors it is not explained. Because, in short, the films
[1:14] that are going to sell to today' s movie show are movies the sea
[1:19] of acquaintances. Their names are gonna ring a bell. They' ll be
[1:26] real, big hits, box office bombings, even some other blog buster.
[1:33] They are films of which we remember their protagonists, even the name of their
[1:38] protagonists, We remember their musical numbers, their dialogues, those iconic characters of
[1:46] those films, but it comes time to wonder who was the director, and
[1:53] everyone looks the other way, because no one remembers that name, including server.
[2:02] It' s time to tell who directed this film and no one remembers
[2:08] the name of its director, because that' s where the shots go.
[2:14] That' s why we said at the beginning of the program that we were
[2:19] going to talk about movies and after those directors, if we remember them,
[2:23] let' s go in the end, if you want to play the trivial,
[2:44] because even if we give the name of those directors, sometimes it will
[2:52] sound to us, sometimes we will say that it was him, but in
[2:58] other times even if we don' t repeat it, a hundred times the
[2:59] name of that director will sound to us. There will be everything like boating
[3:01] and, as we always say, in these cases, we have chosen the
[3:07] following films that are going to come today to the program and raining cinema as
[3:13] well we could have chosen others. Come on, I' m sure you
[3:15] ' d come up with different kinds of things that would have to meet that
[3:23] requirement. The director of his films does not come to mind or in our
[3:29] best thoughts. We started with three musical films, three films of which we
[3:38] know each other, because, practically everything, especially with the first grey called
[3:45] here glitter. Yes, John Travolta or Livia Newton, John and those musical
[3:53] numbers that have passed into the history of a whole generation' s sentimental education.
[3:59] Well, who was the director of Gris, who was the director of
[4:04] this film? The trivial film section begins. I don' t remember the
[4:12] color of these questions anymore, because the director of Gris, the director of
[4:17] Brillantina, was Randall Claiser, that if when we have associated this name with
[4:25] Gris, we say so, that is the director of Brillantina, of Gris.
[4:30] But who at first could say the director of the movie Gris is Randall
[4:36] Claiser, because those who are very big fans of this film are supposed to
[4:44] know on behalf of their director. I repeat and repeat, it' s
[4:51] supposed to be because at first it' s not the most remembered part of
[4:57] the director' s chair of this film. And to make it sound a
[4:59] little more, who Randall Claizer was, Well, for he was the director
[5:03] year one thousand nine hundred ninety- two of affection and enlarged the child or
[5:10] the second installment of the grand Piwi, of the grand and already disappeared Paul
[5:15] Revens, year one thousand nine hundred eighty- eight. But if we say
[5:18] that about the director of Gris, what to say about the director of fever
[5:24] on Saturday night, film, by the way, a year before Gris,
[5:30] that it seemed that this movie fever on Saturday night also with Toñon Travolta,
[5:35] was after Cris, because it was not previous, Yes, the film of
[5:42] the songs of the Begis. Well, who directed Saturday night fever, because
[5:47] it is also trivial question that the truth is made with almost all the quesitos
[5:54] at once, because the director of Saturday night fever was curious Geo Badam,
[5:58] a director who would then specialize in action films. We could have said the
[6:09] same thing about who directed War Games. It was John Badam or short circuit.
[6:15] It was John Badam O, two birds shot. That film you never
[6:19] remember if you' ve seen not with mel Gibson and holdy Houn was also
[6:25] directed by John Badawn, an errant who lives there and shoots at eighty-
[6:29] four years old, but has left everything in the world of cinema and the
[6:33] first two names have come. But we have one or more left, and
[7:00] we talked about starting with three musicals. Well, the third musical is called
[7:08] a rocky horror cult movie, Victor Show. Yes, the one where we
[7:15] see a young Susan Sarant year one thousand nine hundred and seventy- five with
[7:21] a great Tim Curry, who was by the way Tim Kurt. Well,
[7:27] then, who was the director of The Rocky Horror Victor Show, since the
[7:32] director of this British film was not British, he was Australian and his name
[7:40] was Jim Sharman. And it' s normal that his name doesn' t
[7:44] ring a bell. It is normal not to come to mind, at least
[7:46] because the good man only directed five films throughout his career and the best known
[7:53] and long was this The Rocky Horror Victor Show. Over the years he tried
[8:03] to revitalize the success of this film with a sequel. Eighty- one are
[8:07] the results, for imagine what it was like if the film was frankly forgotten,
[8:15] if at any time it was in our memory. Well, then,
[8:20] Raving by Kemose recommends even the name of James herman or, at least his
[8:28] mythical rocky horror cult movie, Pictos Sow and who directed another box office bomb
[8:35] of that time, year nine hundred and eighty, the Lake Azul, with
[8:41] one more than young Brook Hills and one today very relegated to the tracism and
[8:50] very blondial is he, Christopher Atkins, who directed brook Hills to his fifteen
[8:54] years in this movie of Lake Azul, as we just named it and we
[9:01] have left this film aside on purpose, because it was also directed by Randall
[9:07] Clár, the same one that is the gray movie. All this comes to
[9:11] the conclusion that, as much as you once directed authentic blog Buster authentic cult
[9:18] films, it reaches that gentleman who is called time and instead of leaving you
[9:24] on your site, because it practically relegates you to a position so remote that
[9:31] it is dangerously bordered by oblivion. That' s what they must have existed
[9:39] for. For that they must have been born programs like this one of jovindo
[9:46] cinema to vindicate, to recommend or simply to remind all these people that at
[9:52] the time they were everything and that today they are authentic pieces of music.
[9:56] But there are other well- known, well- known films, of which
[10:01] we also don' t know who its director was and, in much more
[10:07] recent cases, such as with the film to American Scoo year two thousand,
[10:16] who was the director of this film starring a more than untied Christian Dance.
[10:22] Well, we can' t talk about her having a director, but a
[10:28] director, because her name is Mary Harron and who Mary Harron was. I
[10:35] still live in Taminico reading, but someone name me the next great film of
[10:41] this director, born to the alborge of American independent cinema, because a little
[10:50] bit of Notorius bette Bage, but nothing more. Mary Harron has been postponed
[10:56] to the trunk of the memories, the memory of the bomb that this to
[11:01] American Saiko implied that everyone believed that had directed a gentleman, since it had
[11:07] not been directed by a lady, Mrs Mary Harron, that we are not
[11:13] going to say that it was a flower of a day, but that the
[11:18] results to which we referred, do not lead us to any other conclusion,
[11:24] and the same could be said of the next director. This is a man
[11:28] from the next film Donny Darko, also a cult film of the year two
[11:35] thousand one. And let' s also say with a young young Jane gillen
[11:39] cal Bueno was no longer his good thirty- one years. Who directed Jake
[11:46] Gillenghall, daughter, her sister Mary gillenhal and Patrick sy Patrick suacy performed in
[11:54] Don Ni Darko, to make it seem that good can be the director of
[11:58] all of them. It was a man named Richard Kelly and almost keni came
[12:05] to the hair to speak in the past time, because Richard Keley was known
[12:09] for this film and for practically nothing else, because we could almost say that,
[12:16] after a couple of attempts, Richard Kelly left him. He left this
[12:20] address. We can talk in the case of Richard Hellie and in the case
[12:26] of Mary Harron, of two more than similar cases, of people from independent
[12:31] American cinema who tried this to direct larger cinema and who also practically stayed in
[12:41] the attempt. And we leave until the year nineteen hundred and sixty- eight
[12:46] to talk about the movie the strange couple. Yeah, the one where Jacklemon
[12:50] and Walter Matown appeared. Yeah, that, uh, movie that seemed to
[13:00] be directed by a gentleman who didn' t do it for Billy Bulder,
[13:05] was directed by someone else to us, can you tell us, on behalf
[13:13] of that real director Tributt question who was the director of Walter Mattow' s
[13:18] strange couple and Jacklemon? We could go on with the following movies on the
[13:22] list while you think about the answer because this time you will unless you'
[13:28] re a staunch fan of this movie. You saw her last night. It
[13:33] ' s hard to find the name of your live. We' re not
[13:39] going to be bad and we' re not going to keep you waiting,
[13:43] we' re not going to make you suffer because it' s not worth
[13:48] looking at the chop and we' re going to tell you who was the
[13:54] director of the strange pair Jin Sax, another real piece of museum that at
[14:01] the time had directed people like Robert Reford and Jane Fonda in barefoot through the
[14:05] park and again to Walter Matou, with Ning, Grid Berman and Goldyhoun in
[14:11] the year one thousand nine hundred sixty- nine with the movie Flor de Cactus,
[14:18] which did not have a most lasting career of the most prodigal, which
[14:26] is why names like those of jinjaks or are hardly remembered. And another real
[14:28] bombshell of those years. Lope Story, the mythical, legendary Lobe Story,
[14:33] Ryan O' Neill and Ali mcgrou kissing the noses of Alimacro' s husband,
[14:41] the film' s producer, Robert Evans. But it doesn' t
[14:46] go on the producer' s side. It' s on the director'
[14:50] s side. Who was the director of this film, Who was the director
[14:56] of Lope Story, Who was the director of one of the film phenomena of
[15:01] said fifty- two years after that remains as a modeo one of the greatest
[15:05] cinematographic phenomena of the entire history of cinema, for Arthur Hiller was, an
[15:13] SUV who as soon made you war movies, like romantic comedies, like laughing
[15:18] comedies, like No me Chilles, who did not see you from the year
[15:22] eighty- nine another gentleman who was slowly forgotten and who is of those directors
[15:28] Gazes. Ah yes he was the director of Emily' s Americanization, oh
[15:35] yes he was the director of the charms of the Great City with Jacklimon and
[15:43] oh yes he was the director of Lope Story. Let' s switch from
[15:48] third. Let' s switch to the third, not Flanders, but James
[15:52] Bond films, which have been the directors of some of James Borg' s
[15:58] films. It wasn' t what we kept from the same men to the
[16:03] directors of James Bond' s modern era We know them more or less.
[16:08] But of the previous ones, of the directors of the saga in the sixties,
[16:17] seventy- eighties, for there were four directors of the James Bond saga
[16:25] who zapped themselves a total of fifteen Bond films and they were Threns, Jean
[16:33] Luis, Gilbert Gay Hamilton and John Gley, directors, by the way,
[16:40] all British, condition without equanus also to start directing a film. Not only
[16:48] did the protagonist have to be good or at least, they had to be
[16:52] Commangwell with some exception, especially in the modern era, which opened the possibility
[17:00] for American directors and some other European to taste Bond James Bond honeys. But
[17:11] let' s go what if we say who was the director of just for
[17:18] his eyes or of the service of his majesty man, Now that we have
[17:22] said the name of those four directors any of them would have to be,
[17:30] but which one? Who directed every James Bond movie, and we' re
[17:36] with the trivial, but we say that saga- to- saga thing and
[17:41] he throws because he plays the Star Wars saga, formerly known as the Star
[17:47] Wars Wars. Who directed the two and the three of this saga, since
[18:04] the second Star Wars movie means Star Warth, that is, episode five of
[18:10] it, The Empire Counterattacks, was directed by George Lucas, and it was
[18:15] just the production. It was directed by Irving Kershner, another SUV who would
[18:29] still make you a crazy comedy, like an action film or precisely a James
[18:37] Bond movie. Specifically, never say, never ever the only James Bone movie?
[18:45] In quotes, pirate, the only James Bone movie? Apart from the
[18:51] productions of the Brocole family you see that everything is interconnected and the director of
[18:59] the third Star Wars film, the sixth episode of the Star Wars Wars,
[19:06] The Return of the Jedi, was not directed and it was a fact that
[19:11] already in its day surprised his own. Nor was it directed by George Lucas,
[19:18] but it was directed by Richard Marwan, a British man who did little,
[19:25] very little, simply for a simple reason, because he left us prematurely
[19:32] in the year nineteen hundred and eighty- seven, but Mira gave him time
[19:37] to direct one of the most neat films of the Star Wars saga, the
[19:42] Return of the Jedi, or as we said at the time, the return
[19:48] of the jedy and who was the director of the movie Dirty Dansing of the
[19:55] year nine hundred and eighty- seven, another real bombshell of the time.
[19:57] Who would dare to say on behalf of the director of it if we were
[20:03] to say trivial questions, because its director was called Emil Ardolino, the reason
[20:11] why we do not remember this name so much. When he also directed the
[20:18] sky, three men and a little lady or Systerrac, a nun of care
[20:23] with Woodby Golberg, were wrong. It' s because a few months after
[20:29] leading a caring nun, poor Emil Ardolino left us, but look who gave
[20:34] him time to become a director of those who make popcorn in cinemas, who
[20:41] take away the dance. Not in vain. Mr Ardolino began before he dedicated
[20:48] himself to cinema as a choreogram, a double memory for Mr Ardolino. And
[20:56] another great musical of the time, at least from the point of view of
[21:00] the box office, was foot Lus year one thousand nine hundred and eighty-
[21:06] four. Who was the director of this musical, the musical in which Kevin
[21:11] Bacon gave him more heels by square method to the floor than any other actor
[21:18] in the history of cinema. You laugh at Don fred Aster, for the
[21:22] director was someone who was dedicated to other details at the time. Herbert Ross,
[21:30] a prestigious director who had directed Woody Allen in the dream of a seducer
[21:36] who would later direct Julia Roberts in the choral film" Magnolias de steel"
[21:45] of the year nineteen hundred and eighty- nine, who also directed Michael J.
[21:51] Fox in the year eighty- seven in the secret of my success director,
[21:55] in turn of other musicals, as for example Money fallen from the sky
[22:00] with Steve Martin of the year nine hundred and eighty- one. We could
[22:04] therefore speak of Herber Ross as another real SUV in the world of cinema and
[22:11] who directed another absolute box office of the eighties. Super detective Holly year one
[22:18] thousand nine hundred and eighty- four, with the real star of that time,
[22:25] Eddie Murphy, for he was Martin Brest, a man who barely made
[22:30] films, but who also gave time to direct Robert de Neo in Huida,
[22:34] Midnight and Pacino. In the essence of a woman. He led Bradwith and
[22:40] Anthony Hopkins, you know Joe Black, Jennifer Lopez and Ben Affleck in a
[22:44] dangerous relationship, and that' s just a power. By the way,
[22:51] Super Detective in Hollywood sequel to Bemus. In the year two thousand twenty-
[22:56] four, Eddie Murphy is back in business and who directed the second Super Detective
[23:04] Hol movie because it was Tony Scott, Rilly Scott' s brother. And
[23:10] we could almost say that to make it seem the other way around, that
[23:14] the first Super Detective saga in Hollywood was directed by Tony Scott and not the
[23:19] other way around and to a lesser extent, although we could also ask ourselves
[23:26] who directed Pretty Woman. Yes, if you haven' t seen her have
[23:30] no television, because she was directed by Gary Marshall, a man who doesn
[23:37] ' t come to mind, first as the director of this film and,
[23:40] on the other hand, as much as he then insisted on keeping Pretty Woman
[23:47] ' s flame alive, even directing Julia Roberts and Richard Ger back in Bride.
[23:52] The escape failed to get rid of the stigma, almost the elongated shadow
[23:59] of having directed without anyone knowing that you had made this film Prettiwa And since
[24:06] we are who directed Tom Hanks in bic in the eighties, or since we
[24:11] are his sister, Gary Marsall' s sister, Penny Marshall, who neither
[24:15] remembers the most of these films, even if you had a moment leading Robert
[24:19] de Nero and Robin Williams to wake them up from the nine hundred and ninety.
[24:26] We could also headline this program as shadow directors and make a leap in
[24:33] brutal time to a lesser extent. Who was the director of Hilda Year one
[24:40] thousand nine hundred forty- six, yes, of the most famous slap in
[24:45] the history of cinema. With permission, you know of whom, for it
[24:49] was Charles Vidor, who, by the way, had absolutely nothing to do
[24:55] with the other ovidor of the cinema, the king with King Bedor, who,
[24:59] by the way, had already addressed Rita Heyword on two occasions and to
[25:03] whom he would also direct along with Glenford two years later, in an attempt
[25:08] to mend the success of Hild Lankn the loves of Carmen, Charles Vidor or
[25:15] another director in the shade, in this case of the rutilating stars that he
[25:19] headed in the cast. And who directed, who cheated on Roger Rabbit anyone
[25:26] will say Hig was someone who left Disney some Bixar precurso to some specialist in
[25:32] the world of animation, because it wasn' t Robert Zmex. Yes,
[25:38] Robert Zmex led who cheated on Roger Rabbit and you have to think twice about
[25:45] it. You have to look at it twice to make sure of the data.
[25:49] A sort of Robert m X, a restless Hollywood ass, a streamer,
[25:52] as he defined it in his day at Don Tom Hanks, a man
[25:56] who didn' t know how to stand still and proved it. He continues
[26:00] to show it in the films he has directed, including this one, Who
[26:06] tricked Roger Radit and who directed Love Shrinked the children of the year nineteen hundred
[26:12] and eighty- nine. Look first, we' ve named Honey and enlarged
[26:18] the year' s nine hundred and ninety- two child. Well, the
[26:19] director of Cariño shrunk the children of the year nine hundred and eighty- nine
[26:25] was a question of trigger was Joe Johnston. This yes, it was for
[26:32] note and for you to be given the whole trivia to take to your house.
[26:37] A man who had started on this film thing by the hand of George
[26:41] Lucas in the technical production departments of the Star Wars saga and who debuted in
[26:47] the cinema with this affection. I have shrunk the children and who was the
[26:52] director of Jumanji of the year nine hundred and ninety- five, for it
[26:59] was precisely Joe Johnston. Kye had already made her hole, had already earned
[27:02] her name as director in Hollywood cinema. Then I would lead the third installment
[27:11] of Jurassic Park or Vigo Mortensen in Ophean This fire, but first of all,
[27:17] if they tell you who directed affection or shrunk the children you think he
[27:21] ' s been a second row director. Well, he was a rookie in
[27:26] this movie thing, and we lined up the end of the raining movie show.
[27:44] Who directed American History X. Yes, we know that this film of
[27:49] the year nine hundred and ninety- eight is a cult film that has directed
[27:55] it to someone who has since given himself no more than him. He served
[28:00] Don Edward Norton another nomination for best lead actor in the oscar delivery. Yes,
[28:08] here and on the hanger not Roberto Benil and we open a painful parenthesis.
[28:15] Roberto ben Niñi leganó el oscar a mejor actor principal, Nick Nolte,
[28:22] Ian Mackillen, Edward Norton and Tom Hanks. We close this painful parenthesis with
[28:32] a painful conclusion well, as the director of American history X was Tony Kate,
[28:37] of which practically nothing else. It was known that we were all looking
[28:42] forward to it. When it' s going to be next, the next
[28:48] film by the director of the magnificent American History X, so we' ll
[28:53] get two thousand eleven years the professor with Adrian Brodin, but nothing more.
[28:59] There we stayed with the desire that it had spread more and with the memory
[29:04] of the good taste of the mouth of the film of the year nine hundred
[29:11] and ninety- eight and who directed the fugitive year one thousand nine hundred and
[29:18] ninety- three, magnificent film for vindication and that had in his day seven
[29:27] nominations to the Oscar Awards that it seems that did not have an action film
[29:33] in the year nine hundred and ninety- three. Open this thing that movies
[29:37] and songs are more considered in the Oscar Awards is more common. He won
[29:45] seven Oscar Awards nominations and one of them in the form of an award for
[29:49] Don Tommilly Johnson, the best cast actor. Well, this movie, based
[29:55] on the famous television series of the 1960s, directed it to someone. But
[30:02] who went to someone remembers his name, because let' s put this director
[30:07] ' s first and last name to Andrew Davis, an action film specialist who
[30:15] started directing Steven Seagal and Chack Norris, a man who continued to direct action
[30:21] cinema. But Kenny' s far to the heights of this fugitive is worth
[30:29] the memory of Andrew Davis and this film to vindicate both at the best moment
[30:33] of his director' s career. And we' re done with this.
[30:38] We have already commented on it on some occasions in Jovino cinema, with a
[30:45] director who we are going to name his films, made some good men.
[30:51] The fiancée princess counts on me miseriy and when Harry found Sally five authentically cult
[31:02] movies for one or another reason and they were directed by the same lord from
[31:07] good to good and taken one by one, neither does it come to your
[31:14] mind which was the director of each of them. Well, then, let
[31:19] ' s claim once and for all Don Rob Reiner, who passes by being
[31:26] the best unknown director in film history. How many times will we have wondered
[31:33] who was the director of each of them? How many times we' ll
[31:41] have given up because we didn' t know or at least didn' t
[31:45] remember. Don Rob Reiner, To you we dedicate this memory, this end
[31:52] of the program of iovindo cinema and that of betes that gives us that we
[31:57] will have to vindicate it, to recommend it as one of the gentlemen that
[32:04] has best made us pass in this subgenre of cinema of entertainment that you and
[32:12] your films have taken care to create Thencue. Mr. Ranel, and here
[33:21] ' s one more show from your favorite podcast. I saw in the cinema
[33:24] in what has been a reminder of all those films, of which as early
[33:30] as that we didn' t remember who their director was. We have found
[33:37] that finally all those films had their own director, in some cases men.
[33:45] Frankly unknown. In other cases names frankly and unfortunately, a little cornered and
[33:53] on not a few occasions we had to sing that. Yeah, that'
[34:00] s right It was that director. These names have come to us, but
[34:06] it gives us that there are more titles to remember, more directors to rescue
[34:13] and to do so we put our hands or blen waiting for the program to
[34:20] have been of your total pleasure. We say goodbye until next week, in
[34:22] which we will always talk about a topic that we come up with in the
[34:28] next few days. Until then we can only thank you very much for your
[34:31] attention, much more your patience and make the final culinary recommendation of all the
[34:38] raining cinema eat a lot of banana, which is very healthy that, by
[34:43] the way, is already here the season of melon and watermelon And, above
[34:46] all, when you look to heaven, you know what you have to do.
[34:51] Find your cloud. We all have one and when you' ve already
[34:55] entered into trust and conversation with her, you have to tell her loudly and
[35:01] clearly what I evacuated cine pardiez

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