Podcast appearances and mentions of Alan Smithee

If the labor laws loosened, those McDoubles would be coming out mighty fast, is all I'm sayin',This week we have some sick little internet reviews for an allegedly special ice maker, seeing Batman Villains in reality TV's "Beyond Scared Straight", those fancy electric water guns, going on a thirst-quenching warpath with Liquid Death tea flavors, and a bubble "bazooka". For the segment, we take a (Upon) Further Review of the fine works of infamous director Alan Smithee. Back to the mines when this ones over, boys!Want more party? Check it out at https://www.reviewpartydotcom.com/ !

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this episode the gang reflect on their experiences at NAB. Key observations revolve around the show's evolving landscape, attendance figures and the technological advancements showcased, notably in AI integrated cloud services and, the noticeable shift from mere promises of innovation to tangible, usable technology.  And of course, there's a bunch of really cool things to get excited about. One Cool Thing:Kaite: The Horror Section (crowdfunding a movie studio) https://republic.com/horrorsectionMichael: Chat with your past meetings locally -  https://fathom.video + Transcript + GPT4 All with cloud or local models.Scott:  U2:UV https://thesphere.com/shows/v-u2-immersive-concert-filmNAB discussion links:https://www.instagram.com/provideocoalition/https://rbr.com/nab-show-reveals-2025-attendance-schedules-2026-affair/https://www.provideocoalition.com/nab-2025-wrap-up-ai-the-cloud-monitors-drives-and-kyno/https://www.shootonline.com/shoot_column/nab-show-unveils-2025-product-of-the-year-and-project-of-the-year-awards-winners/https://www.quickture.comhttps://caraoneai.ushttps://amove.iohttps://cree8.iohttps://pro.sony/en_LV/products/ptz-auto-framing-camera/brc-am7https://colorfront.comhttps://ventanadesign.com/producthttps://flandersscientific.com/XMP550/ and https://flandersscientific.com/XMP650/https://cyme.io/products/peaktohttps://www.lucidlink.comhttps://www.suitestudios.iohttps://iodyne.com/promini/

Kicking off "Forever Midnight Goes To Space" month, The FM3 are starting with 1996's Hellraiser: Bloodline. Jef, Josh and Brian were told that this is the episode in the franchise that they get to see Pinhead in outer space! How could they not start with this obvious masterpiece, afterall Alan Smithee directed it, what could go wrong?! So please secure the airlock and fasten your seatbelt because this episode is gonna have some space turbulence and probably some space flatulence, so make sure that you have enough oxygen to make it through the whole episode. We have such shites to show you! Enjoy earthings!

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this episode the gang chat about the upcoming NAB convention, industry trends, including the ongoing integration of AI into production workflows, a few big news items and, a fun discussion about the many myths that plague post production chat rooms. And of course, there's a bunch of really cool things to get excited about. Show notes:Show Notes:NAB related links:https://www.nabshow.com/https://nab25.mapyourshow.com/8_0/sessions/#/searchtype/sessiontrack/search/SMPTE%20Future%20of%20Cinema/show/allhttps://www.nabshow.com/las-vegas/conferences-and-workshops/postproduction-world/Village Roadshowhttps://deadline.com/2025/03/village-roadshown-chapter-11-bankruptcy-warner-bros-arbitration-1236328231/Apple TV + losing a billionhttps://www.theverge.com/news/633591/apple-tv-plus-losing-1-billionApple TV+ Studios Are Finally Coming To Life In Culver City — Here's What To Expecthttps://secretlosangeles.com/apple-tv-studios-culver-city/OpenAI and Google ask the government to let them train AI on copyrighted content   https://www.theverge.com/news/630079/openai-google-copyright-fair-use-exceptionhttps://www.npr.org/2025/03/20/nx-s1-5334497/carl-erik-rinsch-netflix-fraud-fbihttps://www.linkedin.com/feed/update/urn:li:activity:7308126987758313474/https://www.provideocoalition.com/the-angry-editor-template-search-is-the-new-music-search-time-suck/https://www.engadget.com/ai/amc-theatres-will-screen-a-swedish-movie-visually-dubbed-with-the-help-of-ai-130022232.htmlhttps://blog.frame.io/2018/09/04/creating-video-for-blind-and-deaf/One Cool Thing:Katie: Hot air ballooningMichael: Adobe Translate and Lip Synchttps://news.adobe.com/news/2025/03/adobe-summit-2025-adobe-ai-platform-unites-creativity-marketingScott: https://putonthebrakes.org/

Niklas hat die seltsamsten Trivia Geschichten aus der Filmwelt zusammengetragen und lässt Toben und Marcel rumrätseln was in den einzelnen Geschichten passiert ist. Viel Spaß beim Reinschauen :)

There can only be FUN because this week we're discussing 1991's FUNTASTIC film "Highlander 2: The Quickening", specifically the Rebuild v1.1 fan edit! Come along as we chat about the movie, plus co-host confusion, the cuts, Alan Smithee, middle finger dads, poop trees, apple cider, opera, "Hacking into the Mainframe", EDITOR'S NOTE: Jose was right because the "Bob Wehadababyitsaboy" commercial WAS for GEICO, gooning, campy instructional videos, Doll Man comics, glow stick blood, "The Substance", 3 Ninjas movies, Joe's guesting spots, & more!Want to hear more from your favorite Marsh Land Media hosts? Hear exclusive shows, podcasts, and content by heading toPatreon.com/MLMpod!Buy some Shuffling the Deck / MLMpod MERCH, including our "Natty With Otters" shirt, over atredbubble.com/shop/msspod!Follow James @MarshLandMedia on Twitter, @MLMpod on Instagram, and listen to his music under "Marsh Land Monster" wherever music is found!Havefan mail, fan art, projects you want us to review, or whatever you want to send us? You canshipdirectly to us using "James McCollum, PO Box 180036, 2011 W Montrose Ave, Chicago, IL 60618"! Send us avoice mail to be played on the show at(224) 900-7644!Find out more about James' other podcasts "Mostly Speakin' Sentai", "Hit It & Crit It", "Formulaic: A Podcast In Script Writing", "The Height of Horror", "Sweet Child of Time", & more on our website,www.MLMPod.com!!! Plus, download all Marsh Land Monster albums there, too!

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this episode, the gang chat about the challenges facing the Visual Effects industry, the power of the Youtube streaming platform, how it helps a new generation of content creators and, how AI might help or hinder us production folk in the years to come. And of course, there's a bunch of really cool things to get excited about. Show notes:Adobe Introduces AI-Powered Features in Premiere ProThe VergeBrief Summary: Adobe launched new AI-driven functionalities in Premiere Pro, including a visual recognition search that allows users to find video clips by describing their content, enhancing editing efficiency.The VergeDirect Link (Article): https://www.theverge.com/2025/1/22/24349299/adobe-premiere-pro-after-effects-mediaintelligence-search (validated within date range)Publication Date: January 22, 2025Adobe Launches AI Video Tool to Compete with OpenAIBrief Summary: Adobe released Firefly Video Model, an AI video generation tool integrated with Premiere Pro, offering 1080p clips and aiming to enhance film and TV production workflows.ReutersDirect Link (Article): https://www.reuters.com/technology/artificial-intelligence/adobe-launches-ai-video-tool-compete-with-openai-2025-02-12/Publication Date: February 12, 2025https://www.provideocoalition.com/adobes-new-firefly-generative-ai-video-model-is-live/Media Composer 12.2024 finally works natively on Apple silicon…but the Nexis client does not, and running 12.2024 means you have to run a newer OS that the black trash cans can't run.https://www.provideocoalition.com/avid-media-composer-is-now-apple-silicon-native/No more MiniDVs (and recordable blurays):https://www.engadget.com/home/home-theater/sony-is-halting-production-of-recordable-blu-ray-minidiscs-and-minidv-cassettes-140030225.htmlMore people are watching YouTube on connected TVs than mobile devices:https://www.newscaststudio.com/2025/02/11/youtube-connected-tv/HPAhttps://variety.com/2025/artisans/news/michael-cioni-hollywood-hpa-1236321816/Technicolor Closinghttps://variety.com/2025/film/news/technicolor-begins-to-shut-down-1236319436/Mill employees offered new jobs:https://deadline.com/2025/02/technicolor-the-mill-dream-machine-fx-1236300387/Life After Pi:https://youtu.be/9lcB9u-9mVE?si=isWCTyX_B3XJLyO8One Cool Thing: KH Igor Ridanovic used notebookLM to take the raw dataset from the 2024 rates survey and make a podcast (YouTube link):2024 U.S. Post Production Salary Survey Report (Unofficial)MK: Quickture shows assembly/radio edits inside Premiere Pro and Media Composer. Analytical AI vs GenAI. Audio only, computer vision coming soon.https://www.quickture.com/SS: The mock trailer that helped sell Cobra Kai (Twitter/X link):https://x.com/jonhurwitz/status/1895163930118393978

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this, the first episode of the year the gang tackle a few salient subjects like, the increasing technical demands in post-production roles, the intersection of technology and creativity, generational shifts in career aspirations and, how AI might just fuel our creativity in the future. And of course, there's a bunch of really cool things for us post production people to get excited about. Show notes:One Cool ThingKatie:https://notebooklm.google.com/ turns information into a podcast (deep-dive conversation), which I can listen to to get a quick deep-dive into a topic. Scott:Challenger - A True Story of Heroism and Disaster on the Edge of Space By Adam HigginbothamMichael:Cursor -https://www.cursor.com/https://apnews.com/article/nvidia-ces-2025-jensen-huang-keynote-ecd262c4c55d575e41d51441f6c4ac1dhttps://www.wired.com/story/nvidia-personal-supercomputer-ces/https://www.vanityfair.com/hollywood/story/the-brutalists-ai-controversy-explainedhttps://variety.com/2025/artisans/news/oscars-consider-requiring-films-disclose-ai-use-brutalist-1236299063/https://news.delta.com/delta-host-first-its-kind-ces-keynote-experience-sphere-las-vegashttps://en.wikipedia.org/wiki/DeepSeekhttps://www.respeecher.comhttps://elevenlabs.io

Une chronique de Laurent Lafourcade

another foray into the obscure realm of weird film score, jazz, ambient, funk and more... the seventh sequence. johann johannsson and yair elazar glotman - epilogue tetsu inoue - polychrome chant pete namlook and tetsu inoue - tokai jefre cantu-ledesma - untitled jonny nash - language collapsed tetsu inoue - man made heaven seti - aerino alpha flight - the space between worlds the super secret symphony - symphony number two midori takada and masahiko satoh - chang-dra midori takada - mr. henri rousseau's dream yma sumac - chuncho julianna barwick - envelop michael nyman - the morrow michael nyman - second morrow michael nyman - the departure john roberts - scene no. 6 jasper van't hof and markus stockhausen - silent bell jasper van't hof and markus stockhausen - daybreak gene ammons - hittin' the jug duke ellington - sunset and the mockingbird enrico pieranunzi and rosario giuliani - duke's dream roy hargrove and mulgrew miller - never let me go enrico pieranunzi, marc johnson and joey baron - sundays charles mingus - duke ellington's sound of love franz waxman - a place in the sun bernard hermann - taxi driver main title bernard hermann - phone call / i realize how much she is like the others / a strange customer / watching bernard hermann - a reluctant hero / betsy / end credits the dead mauriacs - résidence aztèque à colonnades (avec vue sur l'océan) benjamin lew and steven brown - les enormes et pourtant invisibles the dead mauriacs - orchestre me ́ canique avec escalier roulant / brussels - japon / danses de salon, divers vertiges / seconde ambassade / lounge, lounge, lounge, une e ́ le ́ gie distante peacepipe - sea of nightmares missing link - spoiled love 101 strings - flameout mike quattro jam band - the court of the crimson king brainticket - places of light itsuroh shimoda - everybody anyone love - alone again or traffic - phycheground ant trip ceremony - four in the morning out of focus - fly bird fly doors - indian summer brainticket - radagacuca anna själv tredje - mossen gandalf - nature boy ruth white - wheel of fortune манана тодадзе and борис шхиани - о стресс! zodiaks - vējš поп-комбинат - телефонный робот алла пугачёва - птица певчая tableau noir - le voyage gregor cürten and anselm rogmans - planes 1 caterina barbieri - this causes consciousness to fracture sturm - untitled drunjus - on the heels of sleipnir 1 rainbow serpent - futuregate 1 alpha flight - start to the worlds alpha flight - world of crystals maju - pale blood, coloured recollections the dead mauriacs - orchestre me ́ canique avec escalier roulant / brussels - japon / danses de salon, divers vertiges / seconde ambassade / lounge, lounge, lounge, une e ́ le ́ gie distante i:cube - adore blixa bargeld - somewhere over the rainbow johann johannsson and yair elazar glotman - epilogue

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this end of year episode, the gang take it in turns to give an update on the year past and, what we might expect in 2025. The discussion covers trends in software and hardware solutions, the economic challenges of the post-production industry and the shift in the types of career opportunities. And of course, there's a bunch of really cool things for us post production people to get excited about.  Scott:   https://www.youtube.com/@keystoneproductionnetwork8729 https://support.apple.com/en-mo/guide/iphone/iph4e76f5667/iosMichael 14'' 4K UHD IPS 3840x1100 Stretched Bar Touch Screen https://www.amazon.com/dp/B0BXL1NXVS?ref=ppx_yo2ov_dt_b_fed_asin_title Katie  https://youtu.be/Ggg45-e4oj0?si=ndqhisqo2nlYLzkk --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Episode 41 - Murdock and Marvel: 1995 Part 2 It was a tough year in comics, especially for the big two.  Comic shops were having trouble, readers seemed to be moving on to other things, and corporate overlords continued to demand ever higher profits.  1995 was a bit of an…apocalypse.  This is part 2 of the podcast. that will feature the year in Daredevil, the Spotlight story and the Takeaway for 1995.   The Year in Daredevil  Appearances: Daredevil #336-347, Elekrta: Root of Evil #1, Marvel Super-Heroes Megazine #4 and 6, Spider-Man: Power of Terror #2 - #4, Sabertooth Classic #11, Marvel: Portraits #2 - #4, What if…? #73, Ghost Rider #61, X-Universe #1 – #2, Ruins #1, Incredible Hulk #434, Punisher Kills the Marvel Universe #1, Over the Edge #1, and Double Edge: Omega graphic novel    Writing: Gregory Wright (336-337), Alan Smithee [actually Dan G Chichester] (338-342), Warren Ellis (343), J.M. DeMatteis (344-347)  Pencils: Tom Grindberg (336-337), Alexander Jubran (339-340), Keith Pollard (341-342), Pollard and Arvell Malcolm Jones (343), Ron Wagner (344-347)  Inks: Don Hudson (336-337), Andre Parks and Hudson (338), Parks, Hudson Bud LaRosa and Rodney Ramos (339), Parks, Hudson and Marie Severin (340), Art Nichols (341), Tom Palmer (342-343), Bill Reinhold (344-347)  The year begins with the final 2 chapters of the Fathoms of Humanity story arc that started last year. You'll recall that story stared with Daredevil following a homeless man into the sewers and coming befriending him and a whole group of people who live there. He battled the King of the Sewers and defeated him again. And we also saw the kingpin attempting to slowly grow his power back. In these final two chapters we learn the homeless man Daredevil followed was once a superhero himself – peacekeeper – in order to help Daredevil and his community against the Sewer King's attempts to take back control of the community and defeat Daredevil. From there, we get the story of Victor “Kruel” Krueller and the Ghost of a Chance diner in flashbacks to explain why Kruel is going after those near and dear to Daredevil/Matt Murdock (Foogy, Glorianna, DA Malpher, Ben Urich). Seems he double crossed Wilson Fisk and at the diner, Fisk caught him and nearly killed him – then covered it up by drugging those same people to wipe their memory. Now Kruel is bent on revenge and is seeking out the witnesses to help him remember what happened. During the quest for information, Kruel kills Glorianna which causes Fisk and Daredevil to team up to locate and confront Kruel. When they do, Fisk ends up killing Kruel.   There's a side story going on in this story as we see Karen Page trying to get information about some troubling images, she saw on a CD given to her by her former adult movie producers.   After a stand-alone book that was part of the Over the Edge event that didn't really make a lot of sense involving the Punisher. We get the start of the Inferno story arc. In it, we see a second Daredevil in the original red and yellow costume and a bonding around the city and talking with Foggy and Karen (as well as leaving taunting messages with Matt). We also see a villain names Sir who's attacking and killing women.   At one point, the two meet and Sir beats up Daredevil so badly, Sir is able to take his costume.  This leads to a very confusing confrontation in which Sir as Daredevil fights the red and yellow daredevil – who happens to be Murdock as an alternate personality. In the end, Batlin as Daredevil defeats Sir as Daredevil and Karen and Foggy come to realize that Batlin is actually Matt Murdock!  Elektra: Root of Evil  Daito of the Snakeroot kills himself with the Sakki sword and makes it impure. So the rest of the snakeroot need to kill three specific people to purify the blade again. (not sure how they know who). There's a brief cameo by Daredevil is issue 1 where he stops Elektra from killing some random mercenaries who are after her.  Elektra wants to form her own Ryu (ninja group like the Chaste) and works with Nick Fury to get recruits.  We briefly meet Target, Lynch, Impact, Masquerade, Niko and Salvo before most are killed in their very first battle against the snakeroot (like the X-force in Deadpool 2).   Via flashbacks, we learn Elektra has an older brother, Orestez who saved Elektra when she was a child and whom killed their mother for seemly cheating on their father. Though Elektra did turn out to be their father's daughter  Other flashbacks show Elektra was a member of the Snakeroot and fell in love with Tekagi – whom she ends up killing at the end of this series with new sais covered in poison before they could kill all 3 purity people.  This Week's Spotlight: Daredevil #347 December 1995 “Inferno Part 3”  Recap Why We Picked This Story Daredevil Rapid Fire Questions The Takeaway Sometimes the crossover is actually cool. Questions or comments We'd love to hear from you!  Email us at questions@comicsovertime.com or find us on Twitter @comicsoftime. ------------------ THANKS TO THE FOLLOWING CREATORS AND RESOURCES  Music: Our theme music is by the very talented Lesfm.  You can find more about them and their music at https://pixabay.com/users/lesfm-22579021/.  The Grand Comics Database: Dan uses custom queries against a downloadable copy of the GCD to construct his publisher, title and creator charts.  Comichron: Our source for comic book sales data.  The American Comic Book Chronicles: Published by TwoMorrows, these volumes provide an excellent analysis of American comics through the years.  Because these volumes break down comic history by year and decade they are a great place to get a basic orientation on what is happening across the comic industry at a particular point in time. 

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment, tech and beyond. In this, our Thanksgiving episode, the gang each share the top 3 tech things that helped their careers and or, continue to shape our industry today. Discussions include: innovation in production tools, the evolution of workflows due to the rise of digital media and, the transformative influence of social platforms on the industry. There's another update on the 2024 Rates Survey, a discussion on the new Mac's and of course, there's a bunch of really cool things for us post production people to get excited about.  Show Notes: NEW MACS M4 Mac mini - https://www.apple.com/mac-mini/ Review: https://www.provideocoalition.com/review-m4-mac-mini-for-video-editors/ M4 MacBook Pro https://arstechnica.com/apple/2024/11/review-the-fastest-of-the-m4-macbook-pros-might-be-the-least-interesting-one/ NLE UPDATES! AVID MEDIA COMPOSER 2024 LAUNCHES NEW FEATURES https://www.avid.com/resource-center/avid-media-composer-launches-new-features-202410 Final Cut Pro 11 https://www.provideocoalition.com/fcp-11-released-at-the-fcp-creative-summit/ Resolve 19.1 https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=211521 LucidLink 3.0 - Big Updates (AWS as a new backend + no egress is huge) https://www.lucidlink.com/new-era New X terms of service in effect November 15  https://mashable.com/article/twitter-x-terms-service @michaelkammes.bsky.social @editblog.bsky.social https://web.archive.org/web/20090418030734/http://www.scottsimmons.tv/blog/2008/03/22/twitter-about-editing/ One cool thing: Katie: Halloween workflow Michael: AltTab https://alt-tab-macos.netlify.app/ Scott:  Jumper https://getjumper.io/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

On this week's episode, we welcome back comedian and writer Eliza Skinner to chat about the joy of ceramics, craft root beer, the color wheel, and so much more!Eliza's Etsy shop!This week's sponsor is  Stitchfix:That's Wildgrain.com/JJGO, or you can use promo code JJGO at checkoutMake style easy—get started today at Stitch Fix dot com slash JJGO.That's Stitch Fix dot com slash JJGO.Stichfix.com/JJGOBe sure to get our new 'Ack Tuah' shirt in the Max Fun store.Or, grab an 'Ack Tuah' mug!Follow the podcast on Instagram and send us your dank memes!Check out Jesse's thrifted clothing store, Put This On.Come see Judge John Hodgman: Road Court  live in a town near you! Jesse and John will be all over the country so don't miss your change to see them. Check the events page to find out where! Follow brand new producer, Steven Ray Morris, on Instagram.

Welcome back to purgatory and a happy Halloween!!!    The boys wrap up the spooky season with the fourth entry in the Hellraiser series with Hellraiser IV: Bloodline from 1996 directed by Kevin Yagher & Joe Chappel but they both walked off the film due to difficulty with the studio so the film has an Alan Smithee directors credit.   The film stars Bruce Ramsay, Valentina Vargas, Mickey Cottrell, Adam Scott, Kim Meyers, Charlotte Chatton, Courtland Mead, Christine Harnos, Michael Polish and Mark Polish!!!   Thanks for checkin us out and if you'd like to find our back catalog go to podbean.com and you can find us on where all other podcasts are found. Intro track & Outro track by Daniel Licht 1.Main Titles  https://youtu.be/ARCM6HxoK5o?si=c8ds3wOhg7Bjf4mN 2. Chaz Le Reve https://youtu.be/czmVJYjoa5g?si=BM34E6IV3Ry-xN2u      

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this episode, the gang have a special guest, Kylee Peña from Adobe. There's an update on the 2024 Rates Survey, a discussion on how the different NAB shows cater for different audiences, the ethical implications of generative AI, the evolving landscape of media and post-production and, the latest AI advancements from Adobe Max. As always, there's a bunch of really cool things for us post production people to get excited about.  Show notes: Rate survey reminder closes November 1: https://www.postproductiondata.com/ FCP Creative Summit is happening again. Nov 13 - 15 https://fcpcreativesummits.com/ https://www.cinegearexpo.com/atl-expo/ https://www.provideocoalition.com/?s=Cinegear+atlanta&submit=Search https://nabshow.com/newyork2024/ https://www.provideocoalition.com/head-in-the-clouds-feet-on-the-ground-at-nab-show-new-york/ Generative Extend in Adobe Premiere Pro: https://main--blog--adobecom.hlx.page/en/drafts/julia/generative-extend-in-premiere-pro https://www.provideocoalition.com/burning-questions-about-generative-extend-in-premiere-pro-beta/ https://contentauthenticity.org/ https://helpx.adobe.com/creative-cloud/help/content-credentials.html Katie: Lillian Schwartz passed away https://www.artnews.com/art-news/news/lillian-schwartz-computer-art-dead-1234721078/ Digging into her work https://www.artforum.com/features/painting-by-numbers-the-art-of-lillian-schwartz-230796/ www.lillian.com/films Michael: Wasabi AiR-  https://wasabi.com/cloud-object-storage/wasabi-air Scott: https://knightsoftheeditingtable.com/excalibur Kylee: https://blog.adobe.com/en/publish/2024/10/16/new-adobe-max-sneaks-transform-photo-video-audio-3d-creation --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Welcome to the Alan Smithee Podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this episode, the team discuss the 2024 Rates Survey, the various partnerships pushing AI development and, the kinds of jobs AI might help or hinder. And as always, there's a bunch of really cool things for us post production people to get excited about.  Show notes Rates survey 2024! www.postproductiondata.com  Lionsgate RunwayML partnership https://www.hollywoodreporter.com/business/business-news/lionsgate-deal-ai-firm-runway-1236005554/ James Cameron joined Stability AI board https://stability.ai/news/james-cameron-joins-stability-ai-board-of-directors An interesting lawsuit: a “professional troll” suing to claim that political deepfakes are free speechhttps://news.bloomberglaw.com/litigation/california-anti-deepfake-laws-target-of-free-speech-lawsuit   California - 3 measures signed by Gov Newsom https://www.gov.ca.gov/2024/09/17/governor-newsom-signs-bills-to-combat-deepfake-election-content/ More layoffs at Paramount and Disney this month, affecting folks in corporate and streaming. https://deadline.com/2024/09/disney-layoffs-corporate-1236099769/https://deadline.com/2024/09/paramount-global-layoffs-2-1236097329/ Michael news: https://postperspective.com/michael-kammes-rejoins-key-code-media-as-sr-director-of-innovation/ New 5 THINGS https://5thingsseries.com/episode/the-truth-about-video-editing-software-in-hollywood-7-year-update/ Review: iPhone 16 Pro Max https://www.provideocoalition.com/review-iphone-16-pro-max/ 28 Years Later: Danny Boyle's New Zombie Flick Was Shot on an iPhone 15 https://www.wired.com/story/28-years-later-danny-boyles-new-zombie-flick-was-shot-on-an-iphone-15/ https://www.productionhub.com/video/90836/avid-showcases-innovations-at-ibc-2024-to-drive-efficient-collaborative-and-open-media-production-workflows https://www.provideocoalition.com/adobe-premiere-pro-is-getting-a-big-color-managment-update-among-other-features/ Katie:  https://editingtools.io/ also, the poster: https://5253154.fs1.hubspotusercontent-na1.net/hubfs/5253154/poster-PRINT-SMALL.png?__hstc=52635383.e9b7ffd8d415ec13e807c232757a7ebd.1726520620995.1726520620995.1726520620995.1&__hssc=52635383.1.1726520620995&__hsfp=3801953514&hsCtaTracking=b2f70a6a-4c74-4f5e-983a-3bd04d8b9585%7C27966497-0655-499f-a831-965c89c157f3 Michael:  Background Remover (FX Factory)  https://fxfactory.com/info/backgroundremover/ Autoscript Voice - AI controlled teleprompter https://autoscript.tv/voice/ Scott: https://www.flowvoice.ai/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

In space no one can smell rotten eggs! One small step for man. One giant leap of terror! This year, the past, the present and the future will all meet at the crossroads of hell! Are the Pillow Fright Girls off their rockers, or is this a special bonus on sequels in space? If you guessed the latter, you are correct! But not just any sequels - Elissa is joined by writer, podcast host, and fellow horror trivia team member Patrick Hamilton to help her discuss a trifecta of franchise sequels she's been long prepared to discuss since the beginning of time* (*the start of the podcast) - Critters 4, Leprechaun in Space, and Hellraiser: Bloodline. Are you ready to go off the rails on a crazy train (spaceship)? Grab your Krites, gold, and Lament Configuration and let's get to it! Check out Patrick and the Kill by Kill podcast on Instagram!Support the showSubscribe to our YouTube channel for visual podcast episodes and more! If you enjoy our content and would like to support us, join our Patreon where you will find uncut episodes, bonus content and more!Follow us on socials:InstagramTikTokLetterboxd Pillow Fright theme by Brandon Scullion

Welcome to the next episode of our monthly round table podcast in which hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this episode, the team discuss the various challenges facing the industry, the upcoming strikes, recent acquisitions and, the latest updates in production software. And as always, there's a bunch of really cool things for us post production people to get excited about.  Show Notes US Film and TV Production Down 40% From Pre-Strike Level, Report Says: https://www.thewrap.com/film-tv-production-2024-levels/ HPA award recipients! https://hpaonline.com/hpa-announces-2024-engineering-excellence-award-recipients/ FotoKem will receive HPA's prized Charles S. Swartz Award https://hpaonline.com/hpa-awards-committee-honors-fotokem-with-the-charles-s-swartz-award/#:~:text=It%20is%20with%20great%20pride,of%20the%20late%20Charles%20S. Paramount closed TV production studios and started major layoffshttps://www.latimes.com/entertainment-arts/business/story/2024-08-13/paramounts-huge-layoffs-begin-nearly-2-000-employees-targeted-in-cuts Paramount/SkyDance https://variety.com/2024/biz/news/skydance-paramount-board-violating-deal-agreement-edgar-bronfman-jr-1236115717/ Disney Layoffs - On July 31, 2024, Disney Entertainment Television laid off 140 employees, which is about 2% of its workforce in the television division. https://variety.com/2024/tv/news/disney-layoffs-television-1236091773/ Teamsters, video game actors, Animation guild, IATSEhttps://www.msn.com/en-us/news/technology/the-animation-guild-contract-expires-soon-will-ai-fears-lead-to-a-strike/ar-AA1oQJqI Kingdom of the Planet of the Apes delivers first-ever side-by-side cut of raw footage with final film  https://ew.com/kingdom-of-the-planet-of-the-apes-side-by-side-raw-cut-with-unfinished-vfx-clip-exclusive-8697941 Cree8 acquired BeBop https://postperspective.com/cree8-and-bebop-technology-merge/ Autodesk acquired Wonder Dynamics  https://investors.autodesk.com/news-releases/news-release-details/autodesk-acquires-wonder-dynamics-offering-cloud-based-ai Premiere 24.4: https://helpx.adobe.com/premiere-pro/using/whats-new/2024-4.html Avid Media Composer 2024.6: https://www.avid.com/media-composer Resolve 19: https://www.blackmagicdesign.com/products/davinciresolve Final Cut Pro 10.8.0 and 10.18.1 https://support.apple.com/en-us/102825 One Cool Thing Katie: B's gmail shortcuts! https://www.themightyshortcutsc.com/ Michael: https://chathub.gg Scott:   https://chrisroyfilms.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Does the name Alan Smithee mean anything to you? Who is that and what does have to do with bad movies? Tune in to find out and enjoy the fun with David and Douglas. EverythingOldIsNewAgain.biz

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this episode they give a brief NAB Review with a deeper dive into the state of the industry for new grads, what tech changes today mean for jobs in the future, how kids can prepare for the new normal and, how we can support that. And as always, there's a bunch of really cool things for us post production people to get excited about.  Show Notes https://www.provideocoalition.com/review-m4-ipad-pro-in-the-edit-suite-part-1/ https://reel360.com/article/art-directors-guild-suspends-training-program-blaming-75-unemployment/ Reddit comments, if interested: https://old.reddit.com/r/FilmIndustryLA/comments/1cnms1x/art_directors_guild_suspends_training_program_we/ https://www.argestsoftware.com/argest-retirement/ https://www.theverge.com/2024/5/9/24153113/apple-ipad-ad-crushing-apology One Cool Thing: Kaite: https://pluralistic.net/ from Cory Doctorow, who coined the term “enshittification”  Michael:  https://umbrel.com/ Simplified Home Network stuff Scott: Judah and the Lion The Process https://www.judahandthelion.com/ (Beautiful Anyway - Scott recommended!) --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

This week on The Tinsel Factory, a look into the TV edits of Alan Smithee, the film that exposed him, and the Smithee's of the next generation. Movie Reviews: The First Omen Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: Directed by Allen Smithee edited by Jeremy Braddock & Stephen Hock https://www.avclub.com/my-year-of-flops-inside-hollywood-edition-case-file-1-1798214128 https://www.nathanrabin.com/happy-place/2022/6/28/an-alan-smithee-film-burn-hollywood-burn-ended-bad-boy-screenwriter-joe-eszterhas-career-a-true-mercy-killing https://www.dga.org/-/media/Files/Contracts/DGACreativeRightsHandbook2023-26.ashx?la=en&hash=718CBDF9C7E2215E1E77C9FFC6C225B0FB3478A4 https://ew.com/article/2015/02/06/david-o-russell-film-you-were-never-supposed-see/ https://www.mentalfloss.com/article/49912/8-pseudonyms-famous-writers-and-directors-used-movie-credits --- Send in a voice message: https://podcasters.spotify.com/pod/show/tinselfactorypod/message Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

This week on The Tinsel Factory, a look at two Alan Smithee classics: The Birds II and Hellraiser: Bloodline. Movie Reviews:Abigail Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: https://www.theguardian.com/film/2000/feb/11/2 https://screenrant.com/hellraiser-4-kevin-yagher-director-removed-name-reason/ “Don't Remake Hitchcock Movies”, 2022 Directed by Allen Smithee edited by Jeremy Braddock & Stephen Hock --- Send in a voice message: https://podcasters.spotify.com/pod/show/tinselfactorypod/message Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

This week on The Tinsel Factory, the disastrous production of The Twilight Zone film. Movie Reviews:Monkey Man Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: youtube.com/watch?v=xZHjTqJSSak  youtube.com/watch?v=IQVOV4eudZw  https://www.latimes.com/archives/la-xpm-1988-08-28-tm-1446-story.html  --- Send in a voice message: https://podcasters.spotify.com/pod/show/tinselfactorypod/message Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

This week on The Tinsel Factory, the birth of Alan Smithee and the production of Death of a Gunfighter. Movie Reviews:Late Night with the Devil and Immaculate Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: https://variety.com/1995/scene/people-news/robert-totten-99124835/ https://trailersfromhell.com/death-of-a-gunfighter/ youtube.com/watch?v=xX2bmwyB_zw --- Send in a voice message: https://podcasters.spotify.com/pod/show/tinselfactorypod/message Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this episode they discuss the upcoming NAB 2024, the changing landscape of the film industry, disruptive technologies, and, the impact of AI and machine learning. And as always, there's a bunch of really cool things for us post production people to get excited about.  Show Notes https://nabshow.com/2024/ https://nabshow.com/2024/learn/conferences/post-production/ https://www.zri-online.de/aktuell/zukunftsorientierte-restrukturierung-der-magix-software-gmbh-77646/ https://www.nikon.com/company/news/2024/0307_01.html https://claytonchristensen.com/books/the-innovators-dilemma/ https://movielabs.com/production-technology/the-2030-vision/ Top 50+ AWS Services Explained in 10 Minutes https://youtu.be/JIbIYCM48to?si=khOPBO3ZX5emMoqZ One Cool Thing: Katie: https://theresanaiforthat.com/ GDC go watch Jensen Huang's keynote https://www.nvidia.com/gtc/keynote/ Scott:  https://editingprep.com/ixmlrenamer/ Michael: https://www.sievedata.com --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this episode the team chat about the HPA Retreat, the evolving landscape of media production, the role of generative AI in the creative process and in particular Sora, the latest AI text to video solution. And as always, there's a bunch of really cool things for us post production people to get excited about. HPA link that Katie mentioned: https://x.com/katiehinsen/status/1760796354903986431?s=20 https://openai.com/sora https://claytonchristensen.com/books/the-innovators-dilemma/ One Cool Thing: Katie: Framed - The daily movie guessing game.  There's also https://episode.wtf/ Scott: Loupedeck CT and Loupedeck Live https://loupedeck.com/ Michael: https://www.concordaerospace.com/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Story: Alan Smithee Was Here (AKA Cab Ride Kiss) Author: SlippinMickeys Rating: Mature Site link: https://archiveofourown.org/works/39451419 Read by: Kristin Summary: For Cathy, who suddenly felt the need to read about Mulder and Scully making out in the back seat of a taxi. Who added: “How about just before their first time, both knowing it will happen sooner rather than later. Maybe a little tipsy, but not so much that they can blame it on the booze.” Used by the author's permission. The characters in these works are not the property of the Audio Fanfic Podcast or the author and are not being posted for profit.

This week we are honoring the birthdays of Grandma Thor and Ivy's Mom with The Adventures of the Wilderness Family. Next week we resume our month of Val Kilmer coverage with Top Gun (1986). In the meantime you can check out Alan Smithee's review of Willow.

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this first episode of the year, the team discusses the latest release of Vision Pro and the impact it might have on both the ‘fans' and people working in post. They also consider how AI and AR technologies might help or hinder our workflow and, there's an update on the AVID acquisition. And as always, there's a bunch of really cool things for us post production people to get excited about.  Enjoy the episode and don't forget to subscribe. Show notes: https://www.theverge.com/24054862/apple-vision-pro-review-vr-ar-headset-features-price https://youtu.be/dtp6b76pMak?si=PLppoUgDtRNsxrPQ  https://youtu.be/v-m8xaf4jL4?si=VE6Y-VdEkmzZlQwm  https://puck.news/apples-quest-to-revolutionize-the-home-theater/  https://www.tomsguide.com/computing/smart-glasses/apple-vision-pro-review https://supersphere.io/ https://finance.yahoo.com/news/mediavalet-announces-definitive-agreement-acquired-120000742.html https://5thingsseries.com/ One Cool Thing: Katie: the Arc browser    https://arc.net/ Michael: https://www.latimes.com/entertainment-arts/business/story/2024-01-03/faux-library-studio-props-closed-closure Scott: https://www.filmpinsociety.com/ (ha, I have a bunch of those) --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

It's a Christmas miracle because THE BOYS ARE BACK! Ben and Damien travel to Japan in the F-150 Studios to review the latest installment of TOHO Pictures' OG Godzilla franchise. Could this be the best one so far? Strap on your big red suits and jump down the chimney, it's time for the ALAN SMITHEE […]

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. In this final episode of the year, the team compare notes on their various work experiences in 2023, the effects of industry mergers, the pay scale variances in post production and, their anticipation of AI developments in 2024. And, there's a special ‘cool things' segment, showcasing the very coolest of things 2023. Enjoy the episode and don't forget to subscribe. Here are the show notes: https://en.wikipedia.org/wiki/Fei-Fei_Li https://www.deeplearning.ai/ https://www.futuretools.io/ https://runwayml.com/blog/ https://cloud.google.com/learn/training/machinelearning-ai https://www.gamesindustry.biz/sony-removing-purchased-discovery-tv-shows-from-playstation-store https://www.reuters.com/technology/adobe-figma-terminate-20-bln-deal-2023-12-18/  One Coolest Thing: Katie: coolest of the year, the Japanese paper films and NHK's automatic sign language translation https://kamifirumu.scholar.bucknell.edu/ https://www.nhk-ep.co.jp/signlanguage/en/ Scott: Transcriptions and text-based editing built into the NLE Michael:  Louper.io for 2023 https://www.louper.io/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons & Michael Kammes are joined by guess host Stacy Chaet to talk about the latest news in production, post production, entertainment tech and beyond. Among the conversations this week the gang discuss Avid's acquisition, the new MacBook Pro M3, the effects of the recent strikes and the many different roles of a Production Technologist. And of course there's a bunch of really cool things for us post production people to get excited about.  Enjoy the episode and don't forget to subscribe. Show notes: Writer's strike: https://variety.com/2023/biz/news/sag-aftra-tentative-deal-historic-strike-1235771894/ Avid's acquisition: https://www.avid.com/press-center/stg-completes-acquisition-of-avid-technology https://www.yahoo.com/entertainment/avid-ceo-retire-during-first-142111188.html MacBook Pro M3: https://www.apple.com/macbook-pro/ https://www.provideocoalition.com/a-sort-of-review-of-the-m3-max-apple-macbook-pro/ One cool thing: Michael:  https://pinokio.computer/ Scott: https://knightsoftheeditingtable.com/chronicler Stacy: https://tryshift.com/ And also from Stacy:  https://apps.apple.com/us/app/camerakit-cameras-formats/id890528993 --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

This week “Castle Rock A.M.” continues their Patreon Selection Series with Anthony Natarelli's pick, “The Regulators”. For this episode we're reading through Chapter 8. Join in as we discuss the aftermath of the first assault on Poplar Street, the contrast between Johnny from each novel, Tom's strange collection, Alan Smithee, and Audrey's journals reveal the horrors of the Wyler household. We just got home from work so this can't be happening, it can't be Episode 148, “Speaking of Tips”. Join our Discord community: https://discord.gg/ZNJvTgShkk For more Derry Public Radio, head over to www.patreon.com/derrypublicradio for exclusive episodes, early releases, and more bonus content! For everything else: https://linktr.ee/derrypublicradio

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. Among the conversations this week, Michael and Katie get to share some of their experiences at IBC and so of course there's even more really cool things for us post production people to get excited about.  Enjoy the episode and don't forget to subscribe. Show Notes https://www.withollywood.org/2023-award-nominees/ https://editshare.com/editshare-to-merge-with-shift-media/ Stuff from Kaite and Michael at IBC: Blackmagic Camera app https://apps.apple.com/us/app/blackmagic-camera/id6449580241 https://twelvelabs.io https://www.infuse.video Avid and Avid AI: https://www.avid.com/press-center/avid-showcases-the-power-of-ai-driven-capabilities-in-media-composer-to-enhance-creative-intelligence/ https://youtu.be/h-VYajOnqrI?si=d9Fr8aWxBn1A27u- https://www.nhk-ep.co.jp/signlanguage/en/ https://flandersscientific.com/XMP550/ https://www.neutralwireless.com https://www.hhi.fraunhofer.de/en/virtual-reality-experience-eva-umlauf-her-testimony.html https://editshare.com/editshare-to-merge-with-shift-media/ One Cool Thing:  Scott - Runtime iOS app.   http://runtimeapp.tv   $4.99 Michael -  https://ffmpeg.lav.io/ Katie - Anything World https://anything.world/ AI-enabled rigging and animation for game / VFX assets. It goes beyond humanoids to allow for pretty much anything --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

The panel is subjected to the truly terrible film Ghost Fever, an effort fittingly directed by Alan Smithee. We marvel at the plotting, attempts at humor, and, of course, the break-dancing mummy. Panelists: Nate, Dusty, Ryan

The episode where we briefly discuss Alan Smithee and David Agnew without being able to remember the names Alan Smithee or David Agnew. How far does the urchin network go? On this podcast, we skipped the tutorial and now we're questioning our choices! This episode was recorded on 9 September 2023. Email us at thedoctorswatcher@gmail.com. Follow us on Twitter or whatever at @DoctorWatcher. I guess we also have a Tumblr. Check out Circuit 23's music at http://soundcloud.com/circuit23 and email him at circuit.23@gmail.com. Listen to his album “Mens Vermis” at https://circuit23.bandcamp.com/album/mens-vermis.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. Among the conversations this week the gang meet up with Michael Cioni to hear how Strada, a new AI-Cloud marketplace could democratize the post-production software industry. And of course there's the latest news and, a bunch of really cool things for us post production people to get excited about.  Enjoy the episode and don't forget to subscribe. Strada: https://strada.tech Starting a Startup video series Strada is doing: https://www.youtube.com/@Strada-Tech Movie Labs Vision Paper - https://movielabs.com/production-specs/2030-vision-papers/ Hugging face - https://huggingface.co GoPro HERO 12: https://gopro.com/en/us/shop/cameras https://www.provideocoalition.com/gopro-launches-hero12-black-with-5-3k-and-4k-hdr-video-longer-run-time-wireless-audio-support-gp-log-and-more/ Avid update https://www.provideocoalition.com/avid-releases-media-composer-2023-8-with-ai-enhanced-features/ https://www.channelnewsasia.com/singapore/lucasfilm-shut-operations-singapore-studio-animation-visual-effects-disney-3700061 One Cool Thing:  Scott  Game Changer for Adobe Premiere Pro - https://exchange.adobe.com/apps/cc/107805/game-changer https://www.provideocoalition.com/game-changer-for-adobe-premiere-pro-may-or-may-not-be-a-game-changer-for-your-workflow/ Michael https://github.com/octimot/StoryToolkitAI Katie  Japanese “paper films” are being digitized  Follow our Twitter account (@kamifirumu) to see highlights of preserved films as we process them. https://kamifirumu.scholar.bucknell.edu/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

We discuss the epic length, dubious quality (but we love it anyway) first attempt at a big screen Dune adaptation. How about you? Do you love this movie or just love to hate it? I'm sure you can still visit the set. Bet the tire fires are still burning. There's more from the Strange and Beautiful Network!Listen to Rachel, Kate, and Hannah discuss spicy books, serious books, and everything in between (but mostly spicy!). It's like sitting down with girl friends to chat about hot book boyfriends but in podcast format! Listen now at Feast, Sheath, Shatter: A Book Chat PodcastLove Movies, TV Shows and Books in the Fantasy, Scifi, and Horror genre and want to hear more? Check us out at The Strange and Beautiful Book Club where Rachel and her husband Matt discuss all things genre related.Longing for a simpler time in the police procedural genre AND love Vampires? Matt and Rachel also review the classic television show Forever Knight on their podcast, Come in 81 Kilo.You can also:Join us on Instagram here: ⁠⁠⁠https://www.instagram.com/strangeandbeautifulbookclub/⁠⁠⁠Join us on Patreon here: ⁠⁠⁠https://www.patreon.com/strangeandbeautifulbookclub⁠⁠⁠Find us on YouTube here: ⁠⁠⁠https://www.youtube.com/channel/UCz9ENwKdHrm57Qmu8L4WXwQ⁠⁠⁠ ★ Support this podcast on Patreon ★

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. Among the conversations this week the gang discuss the current state of the strike and, the wider effects it is having on the industry, the future of Avid, the release of Pro Vision Headset and, a whole bunch of really cool things that will get all us post production people excited.  Enjoy the episode and don't forget to subscribe. HPA - An Open Letter of Concern For the Survival of the Media Creation Supply Chain https://hpaonline.com Marvel VFX Artists Vote to Unionize  https://variety.com/2023/artisans/news/marvel-vfx-artists-unionize-1235690272/ https://www.youtube.com/watch?v=9lcB9u-9mVE Avid Technology to Be Acquired by an Affiliate of STG for $1.4 Billion https://www.provideocoalition.com/avid-technology-to-be-acquired-by-an-affiliate-of-stg-for-1-4-billion/  https://www.reuters.com/markets/deals/stg-francisco-partners-vie-avid-technology-sources-2023-08-03/ https://www.apple.com/apple-vision-pro/ One Cool Thing: Katie: Mocopi  https://electronics.sony.com/more/mocopi/all-mocopi/p/qmss1-uscx Michael: Revisiting an awesome book, with roots in M&E: “The innovator's dilemma”Book by Clayton Christensen https://www.goodreads.com/en/book/show/2615 Scott: Michael's latest 5 Things! A.I. In Post Production - Your Questions Answered! Tools, Adapting, Ethics, Evolution, and Impact https://5thingsseries.com/episode/ai-in-post-production-your-questions-answered/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Alan Smithee's Letterboxd reviews can be found here. Our ridiculous attempt of Face/Off and many more radio plays can be found here.

Smithee est le pire réalisateur de l'histoire du cinéma. Pourtant, il a réalisé plus d'une centaine de films et certains avec des stars comme Jodie Foster, Anthony Hopkins ou Sylvester Stallone. Comment a-t-il pu en tourner autant s'il est si mauvais ? Découvrez la page Facebook Officielle des "Grosses Têtes" : https://www.facebook.com/lesgrossestetesrtl/ Retrouvez vos "Grosses Têtes" sur Instagram : https://bit.ly/2hSBiAo Découvrez le compte Twitter Officiel des "Grosses Têtes" : https://bit.ly/2PXSkkz Toutes les vidéos des "Grosses Têtes" sont sur YouTube : https://bit.ly/2DdUyGg

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. Among the conversations this week the gang discuss the Writer's Strike, The Gartner Hype Cycle, the Metaverse and whole bunch of really cool things that will help us all in our post production endeavors.  Enjoy the episode and don't forget to subscribe. News: https://www.apple.com/final-cut-pro-for-ipad/ https://www.provideocoalition.com/final-cut-pro-for-the-ipad/ https://www.cnn.com/2023/05/01/tech/geoffrey-hinton-leaves-google-ai-fears/index.html https://techcrunch.com/2023/05/10/google-partners-with-adobe-to-bring-art-generation-to-bard/ https://www.today.com/food/trends/ai-generated-beer-commercial-viral-rcna82955https://www.tomshardware.com/news/ai-pizza-commercial https://www.provideocoalition.com/lets-talk-about-subscriptions/ https://techcrunch.com/2023/05/10/google-partners-with-adobe-to-bring-art-generation-to-bard/ https://thoughtful.withgoogle.com/about Writers Strike: https://www.themarysue.com/writers-strike-all-tv-shows-and-movies-affected-by-studios-refusing-to-pay-writers/ https://deadline.com/2023/05/tom-hanks-wga-strike-comments-gayle-king-1235360664/ https://apnews.com/article/wga-writers-strike-demands-d403f5b4666f20e2ce3e379bcaef5f2a Metaverse: https://www.businessinsider.com/metaverse-dead-obituary-facebook-mark-zuckerberg-tech-fad-ai-chatgpt-2023-5 https://www.thestreet.com/technology/mark-zuckerberg-quietly-buries-the-metaverse The Gartner Hype Cycle: https://en.wikipedia.org/wiki/Gartner_hype_cycle https://www.techtarget.com/whatis/definition/Gartner-hype-cycle One cool thing: Katie: https://www.writewithlaika.com/ Michael: https://github.com/oobabooga/text-generation-webui, underscoring the tipping point of localized models for AI Scott: https://commandpost.io Title: “The thing before the thing” --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

Alan Smithee's Letterboxd reviews can be found here. As always, Thor ranked this film a maximum 69 monkeys (at least the parts he saw).

CW: This episode delves into the coercion, harassment, and sexual assaults committed by Harvey Weinstein throughout his career. If you wish to skip this portion of the episode, coverage starts at timecode 30:54 and ends at timecode 1:01:09. Further warning for sexism. We continue our deconstruction of Joe Esterhaz's An Alan Smithee Film: Burn Hollywood Burn, the winner of the 19th Annual Golden Raspberry for Worst Picture! We learn the history of the use of the Alan Smithee pseudonym for directors, cover Esterhaz's overall demeanor and public perception, and (unfortunately) shine a light on the awful deeds of Harvey Weinstein (who is in this damn movie for some reason), and attempt to fix this thoroughly flawed and confused mockumentary. Podcast Plugged In This Episode: Making a Martini (@MartiniMaking on Twitter) Stuff mentioned in this episode: Paul Verhoeven, Showgirls, #MeToo, Rose McGowan, Mel Gibson, the Directors' Guild of America (DGA), Death of a Gunfighter, Robert Totten, Don Siegel, Robert Smith, The Simpsons, kayfabe, Mick Foley, Gone With The Wind, The Birds 2, National Lampoon's Senior Trip, The Twilight Zone, Vic Morrow, Alfred Hitchcock, David Lynch, Dune, Judas Iscariot, John Wilkes Booth, Denis Villeneuve, Bruce Campbell, Sam Raimi, Ivan Raimi, Bill Cosby, The Cosby Show, Daredevil, D. G. Chichester, Metal Gear Solid 4, Hideo Kojima, Ronan Farrow, The New Yorker, Gwenyth Paltrow, Brad Pitt, The 400 Blows, Shakespeare In Love, Elizabeth, Life Is Beautiful, The Thin Red Line, Saving Private Ryan, Lucia Evans, Asia Argento, Florence Pugh, Midsommar, Mira Sorvino, Emily Nestor, Miramax, The Weinstein Company, Amy Adams, Emma de Caunes, Ambra Battilana Gutierrez, Silvio Berlusconi, Roger Ailes, Bill O'Reilly, Hannibal Burress, Rian Johnson, Kate Beckinsale, Rosanna Arquette, Helena Bonham Carter, Daryl Hannah, Eva Green, Heather Graham, Angelina Jolie, Ashley Judd, Sarah Polley, Lupita Nyong'o, Madonna, Sean Young, Uma Thurman, Forest Whitaker, Charlie Kaufman, WGA Strike, Adam Scott, Hellraiser: Bloodlines, Who Framed Roger Rabbit?, Dan Aykroyd, Dragnet, David Duchovny, John Candy, Rick Moranis, Kyle McLachlan, Rosie Perez --- Support this podcast: https://podcasters.spotify.com/pod/show/derazzled/support

We get back to covering actual Worst Picture Winners with 1998's An Alan Smithee Film: Burn, Hollywood, Burn, winner at the 19th Annual Golden Raspberry Awards! You can tell how excited we were to talk about this one by how long we talk about whether Batman's a fascist in the opening. We break down what did and didn't work about the movie, marvel at how anyone could possible cast Harvey Weinstein in an on-screen role, dig into what went wrong with this film's bizarre soundtrack, lambast Joe Esterhaz's lazy writing while defending his Wookiee-like appearance, and try to grasp how a movie like this can be so bad that the director took an Alan Smithee credit himself unironically. We come up with film aliases for ourselves, Jack recounts a bathroom crime, and Joe struggles and fails to remember the title of Comedy Central's single-season adult animated series Kid Notorious about producer Robert Evans. Get comfy, enjoy the episode, and please let us know if you know anything about Michael Ovitz. CW: Brief mention of Harvey Weinstein and the #MeToo movement; racism; sexism; Hollywood being obsessed with itself Link to our stupid short film, Knife-Bricker: The Brickening: https://youtu.be/JPkpfdmvlFU Podcast plugged in this episode: Making a Martini (@MartiniMaking on Twitter) Things Mentioned In This Episode: Mark Waid, Alex Ross, Grant Morrison, Alan Moore, Superman: Red Son, Knife-Bricker, Caligula, the Wu-Tang Name Generator, Joe Esterhaz, the Star Wars Christmas Special, Burt Reynolds, Demolition Man, Sylvester Stallone, Whoopi Goldberg, Jackie Chan, Richard Jeni, Ryan O'Neil, Eric Idle, Chuck D, Coolio, Spike Lee, La Brea Tar Pits, Robert Evans, Flashdance, Paul Verhoeven, Showgirls, Basic Instinct, Dark Knight Rises, The Stinkers Bad Movie Awards, Rotten Tomatoes, IMDB, The Avengers, Sean Connery, Ralph Fiennes, Meet The Deedles, Spice World, Scary Spice, Ilya Kazan, the House Committee on Un-American Activities, Dalton Trumbo, Stanley Kubrick, Sparticus, Kirk Douglas, the Hollywood Blacklist, Inside Baseball, Kathleen Kennedy, Kevin Feige, Michael Eisner, Bruce Willis, Armageddon, Mercury Rising, The Siege, Leonardo DiCaprio, The Man In The Iron Mask, Gas Van Sant, Paris Texas, Milk, My Own Private Idaho, Keanu Reeves, Cinema Sins, Monty Python, Sean Penn, Jon Peters, Pinnochio, Dragnet, Dan Aykroyd, Leslie Nielsen, Miramax, Eric King, Dexter, Arthur Hiller, The Directors' Guild of America, Rugrats, Mark Mothersbaugh, DEVO, Wes Anderson, Asteroid City, Hoopla --- Support this podcast: https://podcasters.spotify.com/pod/show/derazzled/support

Welcome to the next episode of our monthly round table podcast where hosts Scott Simmons, Katie Hinsen & Michael Kammes talk about the latest news in production, post production, entertainment tech and beyond. Among the conversations this week the gang discuss all the latest news and, what they each discovered at NAB. With so many product developments and software updates the whole show is just one big ‘cool new thing'. Enjoy the episode and don't forget to subscribe! Show Notes: https://nabshow.com/2023/news-releases/attendance/ https://nabshow.com/2023/news-releases/poty-award-winners/ https://www.blackmagicdesign.com/products/davinciresolve https://www.provideocoalition.com/blackmagic-announces-davinci-resolve-18-5/ https://blog.adobe.com/en/publish/2023/04/13/nab-2023-introducing-text-based-editing-premiere-pro-properties-panel-after-effects-more https://www.provideocoalition.com/bugs-band-aids-and-frankenbites-adobes-premiere-update-at-nab-2023/ https://www.provideocoalition.com/nab-2023-adobe-celebrates-the-30th-anniversary-of-after-effects-with-new-features/ http://demo.arkrunr.com/comingsoon https://www.magicbox.ninja https://www.dji.com/inspire-3 https://www.provideocoalition.com/dji-announces-the-new-inspire-3-drone/ --- Support this podcast: https://podcasters.spotify.com/pod/show/artofthecut/support

On this episode, the 2022 Halloween Spooktacular kicks into high gear as the gang chats about the ridiculous sequel, Hellraiser: Bloodline! Why bother with this terrible future-set framing device? Couldn't we get a little more Adam Scott for our buck? And where in the HELL is Butterball!?! PLUS: Be sure you select the Demon-o's Delivery Insurance when ordering all your demons and souls online! Hellraiser: Bloodline stars Bruce Ramsay, Valentina Vargas, Charlotte Chatton, Adam Scott, Kim Myers, Mickey Cottrell, Courtland Mead, Louis Mustillo, and Doug Bradley as Pinhead; directed by Kevin Yagher (as Alan Smithee). Catch the guys on the road this fall in the U.S.A. AND their Canadian debut in Toronto! Tickets on sale now! Check out the WHM Merch Store -- featuring new MINGO!, WHAT IF Donna?, Mortal Kombat & Bean Dinner designs! Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.