The Leonard Cohen Threesome Reference In Peace, Love & Misunderstanding

Grace [Jane Fonda]: I had a threesome with Leonard Cohen!

Grace’s Granddaughter [Rosanna Arquett]: Who didn’t?

Lines from – and, according to Dan Callahan, writing in The L Magazine – “the highpoint” of Peace, Love & Misunderstanding, a 2011 movie comedy about a conservative New York lawyer taking her two jaded teenagers to spend a vacation at her hippie mother’s farmhouse.

Originally posted June 7, 2012 at DrHGuy.com, a predecessor of Cohencentric

Leonard Cohen Misquoted In Thomas Crown Affair


Watching the Thomas Crown Affair (1999) recently, I noticed that Mr Crown corrects one of his business henchmen who mangles a line from Leonard Cohen’s “Stranger Song,” but in doing so, errs himself on the quotation. He states it as “It’s sad to see another tired man lay down his hand and quit the holy game of poker;” Leonard’s actual lyrics are “You hate to watch another tired man lay down his hand like he was giving up the holy game of poker.”

Note: Originally posted October 16, 2014 at DrHGuy.com, a predecessor of Cohencentric

Video: Leonard Cohen’s Spoken Version Of Democracy Featured In Mr. Robot Season 3 Trailer

“The marriage between scene and lyric in the teaser is shockingly open”

The minutelong teaser features skin-crawling imagery of chaos and disorder on the streets, all scored with a haunting rendition of Leonard Cohen’s “Democracy.”

While the series often shrouds itself in secrecy… the marriage between scene and lyric in the teaser is shockingly open. “It’s coming from the sorrow in the street,” Cohen’s lyrics tell us as we see an unhinged Darlene (Carly Chaikin) walking through the streets of New York. “The holy places where the races meet,” the song continues, as Elliot (Rami Malek) strides through a subway station toward the train bound for Coney Island, the place where fsociety hangs its proverbial top hat.

On and on the commonalities between song and scene go as Tyrell Wellick (Martin Wallstrom) chugs a bottle of alcohol to embody his “spiritual thirst,” as protestors who are “neither left nor right” scuffle with law-enforcement officials and as tears pour down a surprisingly “sentimental” Darlene’s face. The trailer also offers yet another look at Irving, the new character played by Bobby Cannavale, who has been described as a laconic used-car salesman — but here, he’s flanked by people wearing Dark Army masks, hinting at his grander role in this deadly narrative.

From ‘Mr. Robot’: Watch the First Official Trailer for Season 3 by Josh Wigler (Hollywood Reporter: August 4, 2017)

Video: Feist Covers Leonard Cohen’s Closing Time In Take This Waltz

Feist Cover Of Leonard Cohen’s Closing Time

In the middle of directing Take This Waltz, recently released in theatres, Sarah Polley hit a snag. She desperately wanted to get Leslie Feist to record a cover of Leonard Cohen’s “Closing Time” for the soundtrack. Given how in demand the singer-songwriter is, it was almost impossible to pin her down—even for Polley, a bona fide Canadian celebrity herself. And then one night, around 2 a.m., while Polley and her crew were shooting on a small street in Little Portugal, she heard someone call her name. It was Feist—she and fellow singer Howie Beck, both on bicycles, were on their way to Trinity Bellwoods Park to play glow-in-the-dark Frisbee. Polley asked about the Cohen cover, Feist agreed, and her version of the song is heard at a pivotal point in the film. “That kind of moment is very specific to Toronto,” Polley says now. “It’s a really special place that way.”

From The Argument: In Take This Waltz, Sarah Polley transforms Toronto into a brightly coloured urban fantasy by Jason McBride, Toronto Life July 9, 2012.

Update: Feist also performed another Leonard Cohen classic, Hey, That’s No Way To Say Goodbye, at the 2017 Juno Awards.

Originally posted Dec 11, 2012 at 1HeckOfAGuy.com, a predecessor of Cohencentric

Finale Of The Staircase Ends With Peterson Instructing His Amazon Alexa To Play His Favorite Leonard Cohen Song, “Everybody Knows”

When we meet Peterson a final time, in the three new episodes that Netflix has added this year, he is negotiating a plea bargain. He no longer spouts eloquent turns of phrase, or drops witticisms during legal meetings. Instead, he seems exhausted and beaten. He shouts at his Amazon Alexa to play his favorite Leonard Cohen song, “Everybody Knows,” which is a bleak dirge about systems being rigged, about the world never falling in one’s favor. It’s a bitter song, but almost funny. And in fact, Peterson does get the last laugh—after entering an Alford plea in February of 2017, he is now a free man, convicted of manslaughter and sentenced to time already served.

How The Staircase Defined True Crime Series by Rachel Syme (The New Republic: June 11, 2018)

The first 12 episodes of Netflix’s true-crime documentary The Staircase all end the same way. After an especially haunting or lingering bit of footage, the end credits — a montage of old photographs of the Peterson family in happier times set to somber string music — begin to roll. The thirteenth and final episode unexpectedly changes this formula, scoring the credits with a different song and ending with an intriguing, thematically loaded post-credits scene…

It an interesting juxtaposition when considering the lead-up, which is equally somber. The last scenes before the credits show Peterson, in his home without an upcoming court date looming over his head, putting on a song for the French documentary team that’s been filming his story for a decade. It’s Leonard Cohen’s 1988 track “Everybody Knows,” and Peterson says it’s his favorite song. The camera lingers on Peterson as he wordlessly listens to the music, and then the credits roll as Cohen’s raspy voice replace the usual string music.

‘The Staircase’ Ends With an Extremely Meaningful Post-Credits Scene by James Grebey (Inverse: June 11, 2018)

“Some guys just stumble into money. Like Leonard Cohen into the Chelsea Hotel.” Chuck Rhoades – Billions S3E11

There must be a Leonard Cohen fan or two working on Billions. Not only were two of Cohen’s songs, You Want It Darker and Treaty, employed to great effect in the S3E3 soundtrack (see Billions “Patrick Bateman, Bud Fox Hybrid Wannabe” Episode Features Leonard Cohen’s You Want It Darker), but the dialogue of Kompenso (S3E11) serves up a Leonard Cohen allusion.via  United States Attorney for Southern District of New York State Chuck Rhoades, played by Paul Giamatti.

Chuck: Is this how one runs a service business?
Ira: Whatever I’m doing, it seems to be working. Because I invested in one. And now I got five.
Chuck: Ah. Some guys just stumble into money. Like Leonard Cohen into the Chelsea Hotel.

“I got this call from a chap called Robert Altman. And he says, ‘Listen, you know, I love those songs, I’ve built a film around them, can I use them?’ I said, ‘Who are you?'” Leonard Cohen’s Appreciation Of Brewster McCloud Prompts Him To Sign On For McCabe & Mrs Miller

Were you consulted about the songs in McCabe?

quoteup2
I was living in Franklin, in Tennessee, and I’d come into Nashville just to see a movie–we’d been living out in the sticks for a long time. And I saw this movie called Brewster McCloud. Have you seen it? It’s a very, very beautiful and I would say brilliant film. I sat through it twice. Maybe I just hadn’t seen a movie in a long time, but it was really fine. I was in the studio that night, in Nashville, and I got this call from a chap called Robert Altman. And he says, ‘Listen, you know, I love those songs, I’ve built a film around them, can I use them?’ I said, ‘Who are you?’ He said, ‘Well, I did M*A*S*H, that’s my film.’ I said, ‘I know it was enormously successful, but I haven’t seen it. Is there anything else that you’ve done that I might know?’ ‘Well, I did a picture that’s been completely buried, that you wouldn’t know about, it was called Brewster McCloud.’ I said, ‘Listen, I just came out of the theatre, I saw it twice, you can have anything of mine you want!’ I did do some additional music–only one thing that was used, I did a guitar background for a little soliloquy by Warren Beatty; it’s just barely perceptible but that is one of the nicest things I ever did, I love that piece. Then I saw the picture, the finished picture without the music, the soundtrack hadn’t been completed. And I said, ‘Listen, man, I’ve got to tell you–if we ever work together again I want you to know you can get an honest opinion from me–I don’t like it.’ He was quite hurt, as I would be too, but… Then I went to the theater in Montreal, and I saw the picture with the music and everything, and it was great! I called Altman in London, it took me two days to track him down, and told him, ‘Forget everything I said, it’s really beautiful.’quotedown2

Leonard Cohen

 

From Leonard Cohen: The Romantic In A Ragpicker’s Trade by Paul Williams (Crawdaddy, March 1975).

More posts about Leonard Cohen’s music in McCabe & Mrs Miller are found at