The Soundsphere Magazine Podcast

Leo Woodall and Havana Rose Liu talk working with Dustin Hoffman on Tuner, learning piano and MORE!

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jakson Leo Woodall and Havana Rose Liu talk working with Dustin Hoffman on Tuner, learning piano and MORE! kansikuva

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When two-time Oscar winner Dustin Hoffman first read the script for the indie film,  “Tuner,” he was surprised how Academy Award-winning documentary director Daniel Roher (“Navalny”) had navigated his first narrative fiction thriller. When two-time Oscar winner Dustin Hoffman first read the script for the indie film,  “Tuner,” he was surprised how Academy Award-winning documentary director Daniel Roher (“Navalny”) had navigated his first narrative fiction thriller. Having spent his life playing piano and taking legendary roles like “The Graduate” and “Midnight Cowboy,” Hoffman had attended the Los Angeles Conservatory of Music, and actually hoped to become a concert pianist. “The role of a piano tuner immediately resonated with me on a personal level,” he said.  “This was the first time in over 50 years of doing this, a guy came up to me and said, I wrote this for you,” he acknowledged during a press chat.   Hoffman plays veteran tuner Harry Horowitz, a gifted man who is well-versed in fixing pianos. Later, at a private screening at Black Bear Pictures in Los Angeles, the seven-time Academy Award nominee told the audience: “Somehow Daniel knew that (in real life) I played the piano.” He continued: “Daniel sent me a script, and I liked it very much. I told him it was very well written….I was in Europe, and he flew over to London on his own dime, and we just talked….What particularly struck me was the original way the story evolved into a heist genre; it felt fresh and compelling.” Hoffman said he was “shocked” because he had never met anyone like Roher before, who had worked on many layers of the crime-romance..   For more visit: https://www.soundspheremag.com/ [https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbDhud2lWbHNrYnJvNFZXUTZlM0hQWG1QTGRzQXxBQ3Jtc0tuNGhReG5mcE9RWlRWRHAxOTN0bDZVR0s3T0phcXE0cmNTOGdaQlNVc2lnZU5IbHN0UVVZQVdMVzZCVzhRWXB1ZlNfRWctQWQxdHdIQTN2aTdBR3ZMeUV1YnRPcEJqNlltbk9fM0xiMDBmTnYxcmpUMA&q=https%3A%2F%2Fwww.soundspheremag.com%2F&v=4PcnQWi-ePc]

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jakson Leo Woodall and Havana Rose Liu talk working with Dustin Hoffman on Tuner, learning piano and MORE! kansikuva

Leo Woodall and Havana Rose Liu talk working with Dustin Hoffman on Tuner, learning piano and MORE!

When two-time Oscar winner Dustin Hoffman first read the script for the indie film,  “Tuner,” he was surprised how Academy Award-winning documentary director Daniel Roher (“Navalny”) had navigated his first narrative fiction thriller. When two-time Oscar winner Dustin Hoffman first read the script for the indie film,  “Tuner,” he was surprised how Academy Award-winning documentary director Daniel Roher (“Navalny”) had navigated his first narrative fiction thriller. Having spent his life playing piano and taking legendary roles like “The Graduate” and “Midnight Cowboy,” Hoffman had attended the Los Angeles Conservatory of Music, and actually hoped to become a concert pianist. “The role of a piano tuner immediately resonated with me on a personal level,” he said.  “This was the first time in over 50 years of doing this, a guy came up to me and said, I wrote this for you,” he acknowledged during a press chat.   Hoffman plays veteran tuner Harry Horowitz, a gifted man who is well-versed in fixing pianos. Later, at a private screening at Black Bear Pictures in Los Angeles, the seven-time Academy Award nominee told the audience: “Somehow Daniel knew that (in real life) I played the piano.” He continued: “Daniel sent me a script, and I liked it very much. I told him it was very well written….I was in Europe, and he flew over to London on his own dime, and we just talked….What particularly struck me was the original way the story evolved into a heist genre; it felt fresh and compelling.” Hoffman said he was “shocked” because he had never met anyone like Roher before, who had worked on many layers of the crime-romance..   For more visit: https://www.soundspheremag.com/ [https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbDhud2lWbHNrYnJvNFZXUTZlM0hQWG1QTGRzQXxBQ3Jtc0tuNGhReG5mcE9RWlRWRHAxOTN0bDZVR0s3T0phcXE0cmNTOGdaQlNVc2lnZU5IbHN0UVVZQVdMVzZCVzhRWXB1ZlNfRWctQWQxdHdIQTN2aTdBR3ZMeUV1YnRPcEJqNlltbk9fM0xiMDBmTnYxcmpUMA&q=https%3A%2F%2Fwww.soundspheremag.com%2F&v=4PcnQWi-ePc]

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There are conversations you have with artists where you can tell, within minutes, that the music isn’t a product – it’s survival. Talking with Tim De Gieter of Doodseskader is exactly that. We’re here to talk about the band’s latest record, The Change Is Me – a release that feels like it’s been dragged out of the darkest corners of the mind, but somehow still points toward something like hope. Not the flimsy, Instagram-ready kind, but the uncomfortable, honest, “this might never be perfect and that’s okay” kind.   For more visit: https://www.soundspheremag.com/ [https://www.youtube.com/redirect?event=video_description&redir_token=QUFFLUhqbDFVWGdGSjczWmotWnBGb1hhdHhodG5fekFXd3xBQ3Jtc0tuVWh5SWRod2xrdWtibUdKbHF1RmtkT0ltX3JGdzBEN2FuWGRpckc1MVpubC1jYkhlN1gxTlRHSlNFTzJTYzEzcUVhYzdDbXMxUExRRWJubHFaNWJBdXRIUDBKWUhueW5ERzRYZ2xpSkRod0daeTA0bw&q=https%3A%2F%2Fwww.soundspheremag.com%2F&v=228EUAOC9hs]

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There’s a particular kind of electricity that only exists when wrestling leans all the way into the weird. Not just spooky lighting and jump-scares, but genuine psychological horror – the kind that stays with you after the show ends, the kind that bleeds into real life grief, legacy, and art. Right now in TNA, that electricity has a name: The Righteous – Vincent and Dutch – locked in a sprawling, reality-bending feud with Matt and Jeff Hardy that’s already pulled in multiple versions of the Hardys themselves, threatened to tear open the “Broken Universe” once again, and constantly circles one towering shadow: the late Windham Rotunda, known to millions as Bray Wyatt. Over the course of our conversation, it becomes clear that this isn’t just another storyline for The Righteous. It’s a meditation on horror, creativity, grief, and the people they call “the Many” – their fans, their believers, and everyone who sees something of themselves in the madness. For more visit: https://www.soundspheremag.com/

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