Podcasts about American Cinematheque

Karina Dandashi is a Syrian-American Muslim filmmaker born and raised in Pittsburgh, PA. Her work has been featured in numerous Oscar-Qualifying festivals around the U.S. and programs at The Museum of Modern Art and The American Cinematheque. Karina was a 2020 Creative Culture Fellow at The Jacob Burns Film Center and a 2021 Sundance Ignite Fellow. She was featured in Marie Claire's inaugural Creators Issue as one of the “Top 21 Creators to Watch” in 2022. Her feature script OUT OF WATER was selected by Film Independent for their 2023 Screenwriting Lab and was awarded three grants from MPAC, The Heinz Endowments, and The Jerome Foundation. Her short film COUSINS is available on The New Yorker and is a Vimeo Staff Pick.Connect with Karina:➡️ Instagram: @KarinaDandashiwww.karinadandashi.comAbout The Lot1 Podcast ✨The Lot1 Podcast is designed for anyone who is interested in or working in filmmaking. Whether you're just starting out or a seasoned veteran, we hope you gain the knowledge you need to improve your craft, achieve your filmmaking goals, or simply get an understanding and appreciation for the roles and duties of your peers and colleagues.☕Tourist Hat Coffee Companyhttps://touristhatcoffeecompany.com/

In the season 6 premiere of Sista Brunch, hosts Fanshen Cox and Shawn Pipkin-West celebrate the stories of Black women and gender expansive people in entertainment and media. They highlight community partners like the American Cinematheque and Post in Black podcast. The episode spotlights Alyson Fouse and Morenike Joela Evans, creator and director of the Netflix show 'Act Your Age,' and explores their inspiring journeys from early career challenges to notable successes. Topics include their industry experiences, the importance of representation, financial challenges in the industry, and practical advice for aspiring creatives. 00:00 Welcome to Season Six! 00:11 Shoutouts to Community Partners 01:56 Introducing Today's Guests 02:18 Behind the Scenes of 'Act Your Age' 04:40 Alyson Fouse's Journey 08:04 Morenike Joela Evans' Path to Directing 15:59 Multicam vs. Single Cam: A Director's Perspective 18:16 Financial Realities in the Industry 24:01 Navigating the Strike and Career Challenges 25:36 Directing and Producing During the Pandemic 26:48 The Evolution of Television and Technology 28:46 Tools and Techniques for Directors 32:27 Collaborative Work Environment 39:03 Advice to Younger Selves 43:56 Closing Remarks and Future Plans

It's finally here! Behold our Season 5 finale episode, which, in true Watch With Jen form is a group chat extravaganza celebrating the best new physical media releases in recent months. In this feature-length compilation, you'll hear thoughtful, articulate, occasionally personally revealing, funny, & fresh spins on NO COUNTRY FOR OLD MEN (with novelist S.A. Cosby), Scarface - 1932 (with critic Sean Burns), THE LONG GOOD FRIDAY & GALAXY QUEST (with novelist Jed Ayres), myself on PAPER MOON, PULP FICTION, & THE SHAPE OF WATER, & A SIMPLE PLAN & PARIS, TEXAS (with novelist William Boyle). Afterward, I've included a special bonus section featuring the official Watch With Jen introduction to the film WHITE PALACE that was recorded live at the American Cinematheque in August of '24 with myself, Kate Hagen, & words by Amy Robinson. I'd dub it an Easter Egg but given the date, let's call it a Holiday Present instead. I want to thank you from the bottom of my heart for your listenership & support this season. 2024 was our biggest year yet & I have a lot of exciting plans for 2025 in store so I hope you'll stay tuned. You'll find more writing & film recommendation videos on our Patreon soon & then the podcast should return in February of '25.Originally Posted on Patreon (12/28/24) here: https://www.patreon.com/posts/118848959Listen to the Watch With Jen™ Podcast on RSS, Spotify, Google, Stitcher, Apple, Pandora, and More Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop (+ Direct Link to the Mug) Donate to the Pod via Ko-fi

I recently had the honor of moderating a panel during the annual PROOF film festival in LA. Powered by the American Cinematheque, PROOF is dedicated solely to the presentation of proof-of-concept short films, looking to be expanded into feature-length productions or series, and empowering the next generation of cinematic storytellers. I saw down with actor/producers Margaret Cho, Michael Oloyede, and Darrell Britt-Gibson to discuss the complexities of their multi-hyphenate career paths. Together we talked about everything from indie filmmaking to the importance of collaboration, and, of course, the current state of the industry. Enjoy! xx Check out the panelists: @michaeloloyede_ @margaret_cho @chipsheridan

Streaming—and a pandemic—have radically transformed cinema consumption, but there is a growing number of mostly younger people contributing to a renaissance of LA's independent theater scene. The city's enduring, if diminished, role as a mecca of the film industry still shapes its residents and their entertainment preferences, often with renewed appreciation after the pandemic. Part of what makes the city unique is its abundance of historic theaters, salvaged amid looming closures or resurrected in recent years by those with ties to the film industry. Experts see a pattern of success for a certain kind of theater experience in Los Angeles. Kate Markham, the managing director at Art House Convergence, a coalition of independent cinema exhibitors, said a key factor is the people who run these theaters. “They know their audiences or their potential audiences, and they are curating programs and an environment for them to have an exceptional experience,” she wrote in an email. American filmmaker Quentin Tarantino pioneered the trend when he purchased the New Beverly in 2007. After Netflix bought and restored the nearby Egyptian Theater, which first opened in 1922 as a silent movie house, the company reopened it to the public in November in partnership with the nonprofit American Cinematheque. It's now a bustling hub, regularly welcoming A-list celebrities premiering their projects as well as film buffs willing to stick around for hours-long marathons, like a recent screening of four Paul Thomas Anderson movies. What draws people to independent theaters can vary, from older programming to elevated food-and-drink offerings to lower prices. But many agree, above all, there is a communal aspect chains can't match. “The bigger places obviously have premium formats and stuff like that. But I think there's a lot less communal connection,” said Dr. Michael Hook, who attended a matinee of “Seven Samurai” at Vidiots with a Children's Hospital Los Angeles co-worker. “You're not just milling around with people who also have selected to go to a three-hour-long 1950s Japanese movie.” This article was provided by The Associated Press.

Today on Toolkit, something special: for the 30th anniversary of the action classic "Speed," IndieWire's Jim Hemphill interviewed the director and stars live on stage at the American Cinematheque for their recent Beyond Fest screening of the movie. Learn more about your ad choices. Visit megaphone.fm/adchoices

Imani Davis is a writer, producer, and a film programmer at the American Cinematheque in Los Angeles. A recent LA transplant from Chicago, she is deeply committed to elevating women directors, as well as providing opportunities for emerging talent to break into the film industry. At the American Cinematheque, a 501c3 nonprofit boasting over 1,500 film screenings a year, Imani curates, plans, and executes unique and engaging film events. She has worked to put on events with A-list filmmakers and talent such as Sofia Coppola, Jordan Peele, Daniels (Daniel Kwan and Daniel Scheinert), Damien Chazelle, Christopher Nolan, and many more.Within her work at the American Cinematheque, Imani founded and put on the inaugural PROOF Film Festival in October of 2023. PROOF is one of the first ever short film festivals completely dedicated to proof-of-concept short films. Imani thought of the festival concept and put on the first edition to rousing success within a year of starting her position at the AC. The first year of PROOF included screenings of over 40 hand-picked short films from emerging talent, industry mixers and panels, and film industry decision makers in attendance such as representatives from Sony, Lionsgate, Gersh Agency, MACRO, Hartbeat Productions, ColorCreative, and more.Outside of her role as a film programmer, Imani co-founded Film Girlz Brunch, a monthly casual meetup of women in film in Los Angeles which has formed a number of partnerships and hosted many events in just over a year of starting. She also co-hosts “Players: A Film Industry Podcast” with fellow filmmaker and producer Demma Strausbaugh which is dedicated to demystifying various industry topics in an accessible and fun way.Connect with Imani:➡️ Instagram: @imanimdavis➡️ TikTok: @imanidavishttps://www.americancinematheque.com/series/proof-proof-of-concept-film-festival-2024/About The Lot1 Podcast ✨The Lot1 Podcast is designed for anyone who is interested in or working in filmmaking. Whether you're just starting out or a seasoned veteran, we hope you gain the knowledge you need to improve your craft, achieve your filmmaking goals, or simply get an understanding and appreciation for the roles and duties of your peers and colleagues.

Send Kevin a Text MessageIn this episode of "Don't Kill the Messenger," host Kevin Goetz sits down with Hollywood power couple Paula Wagner and Rick Nicita. Wagner has worked in the top ranks of the entertainment industry as a talent agent, studio executive, and producer. She co-founded Cruise/Wagner Productions with Tom Cruise, producing blockbuster hits like the "Mission: Impossible" franchise. Nicita worked as a successful talent agent for 5 decades before turning to production and consultation. He is currently Chairman of the American Cinematheque. Together, Wagner and Nicita offer insight into cultivating some of the most successful careers in Hollywood.Early Careers and Transition to Becoming Agents (02:21)Paula Wagner shares her journey from actress to agent while Rick Nicita recounts his path from law school dropout to William Morris. The couple then talk about how they met.Hollywood Speed Round and the Art of Being an Agent (14:45)Rick talks about some famous clients including Kevin Costner and Nicole Kidman in a celebrity speed round, and the trio discuss negotiating deals, choosing the right projects, and the importance of building long-term relationships.Memorable Career Moments (28:04)Paula talks about her involvement with Tom Cruise in Rain Man and Born on the 4th of July, and Rick discusses shares his experiences with high profile clients.Cruise/Wagner Productions and United Artists (32:57)Paula discusses her partnership with Tom Cruise, and the pair share the challenges of reviving United Artists while navigating industry changes and economic crises.The Changing Landscape of Hollywood (40:00)The trio discuss stardom, and how it has changed over the years, delving into the challenges of creating new movie stars and the future of audience engagement and storytelling.Broadway and Beyond (48:00)Paula shares about her transition to Broadway producing and her upcoming projects High Noon, and The Others. The couple reflects on the art of balancing film and theater productions.Paula Wagner and Rick Nicita's careers offer a unique, insider perspective on the genesis of some of Hollywood's biggest names. Wagner's journey from actress to top agent, then to successful film producer and now Broadway impresario, demonstrates her versatility and understanding of the creative process. Nicita's legacy as an agent and his transition to production and consulting highlight his expertise in talent management. Together, their experiences provide for a fascinating and inside look at how stars become stars.Host: Kevin GoetzGuest: Paula Wagner and Rick NicitaProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Paula Wagner:Wikipedia: https://en.wikipedia.org/wiki/Paula_WagnerX (Formerly Twitter): https://x.com/producerpwagnerIMDB: https://www.imdb.com/name/nm0906048/For more information about Rick Nicita:Wikipedia: https://en.wikipedia.org/wiki/Rick_NicitaX (Formerly Twitter): https://x.com/ricknicita?lang=enIMDB: https://www.imdb.com/name/nm1131362/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book:

Hi. Curious what I look like? Well, I am trying to do a video podcast for the first time. This might never happen again. I need positive encouragement. Also, I need to fix that eye-line when I read the teleprompter. (Oh - and if you're listening on a podcast platform, you can watch on raisingcinephiles.com) So, this episode is inspired by the screening of Modern Times I hosted for American Cinematheque's Friend of the Fest. It was such a fun matinee, and there were A LOT of kids in the audience, including my son. He could not sit still. I thought I made a grave mistake choosing this film. My podcast guests had led me astray. Then, a week later, something AMAZING happened. We were playing, and he said I was being brought to jail. But it was a really nice jail. And I realized it was the jail Little Tramp enjoyed. It was better than living in the Great Depression. So he took in the story, even though he also wanted to watch his seat slam back into an upright position and make a loud, distracting noise. A good lesson is that just because he isn't watching the way society deems respectable, it doesn't mean he isn't paying attention. Watching the movie also brought back a flood of memories—it was like Proust's Madeline. The memories consisted of scenes from films that have permeated culture through time, which is what I outline in this short episode. I hope you enjoy the watch! (Oh - and if you're listening on a podcast platform, you can watch on raisingcinephiles.com) This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.raisingcinephiles.com/subscribe

At a sold-out* screening at the American Cinematheque's Friends of the Fest podcast film festival of Miami Vice on 24 August 2024 at Hollywood's Egyptian Theatre, hosts Katie Walsh and Blake Howard surprised the audience with a Q&A with the icon Michael Mann. The conversation traverses Mann's inspirations for the film, his favourite scenes, the editorial philosophy, immersive actor preparation, and the fantastic supporting cast. Finally, the cherry on top was an update on the development of HEAT 2. * our second sell-out screening in two yearsJoin our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON: ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

#309: In honor of the American Cinematheque's "Friend of the Fest" program, we're rerunning their feature from our mini-series, Revival House! Victoria Alejandro is one of the podcasters invited to present a film this year. This Sunday, 8/25 at the Egyptian Theater, she'll be introducing the 80s classic "To Live and Die in L.A." You can find tickets here: https://www.americancinematheque.com/now-showing/laist-presents-to-live-and-die-in-l-a-8-25-24/ Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city. Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

The Better Than the Movie boys are hosting a screening of TANK GIRL (1995) on August 24, 2024, as part of American Cinematheque's Friend of the Fest 2024 podcast film festival. So here is a free-floating (read: CHAOTIC) chat about this underground comic-turned-quirky Hollywood movie, including another of Allan's absurd trivia competitions. If you're in LA, pick up a ticket for more of this insanity: SKYLIGHT BOOKS PRESENTS TANK GIRL   Whether you're attending or not, this episode is an adrenaline jolt of snappy silliness about an absurd and crazy flick.   Hosted by Allan Traylor, Tyler Austin, and Justin Remer.  Produced by Justin Remer.  Recorded at the LAPL Octavia Lab.  Opening music and game show bed music taken from Duck the Piano Wire's ISOLATION QUARTET  Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band 

Hosts Katie Walsh and Blake Howard discuss the announcement of the ‘Friend of the Fest 2024' MIAMI NICE PRESENTS MIAMI VICE screening at the American Cinematheque on Saturday August 24 (7:00pm) at the Egyptian Theatre. TICKETS: MIAMI NICE PRESENTS MIAMI VICEJoin our Patreon for as little as $1 a month for an exclusive weekly podcast + access to the OHM discord here.ONE HEAT MINUTE PRODUCTIONSWEBSITE: ONEHEATMINUTE.COMPATREON:ONE HEAT MINUTE PRODUCTIONS PATREONTWITTER: @ONEBLAKEMINUTE & @KATIEWALSHSTX & @OHMPODSSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Who's the Bossk? - Episode 200: 2001: A Space Odyssey with Sam Rodriguez and David Murto Date: July 23rd, 2024 (recorded July 7th) Listen Topics First-time guest Sam Rodriguez (projectionist for the American Cinematheque in Los Angeles) joins regular guest David Murto and "Who's the Bossk?" host Mike Celestino for a discussion of director Stanley Kubrick's 1968 science-fiction masterpiece 2001: A Space Odyssey, as the 10th installment of the "Mike and David Movie Club." Subscribe iTunes Google Spotify

Who's the Bossk? – Episode 200: 2001: A Space Odyssey with Sam Rodriguez and David Murto Date: July 23rd, 2024 (recorded July 7th) Listen Topics First-time guest Sam Rodriguez (projectionist for the American Cinematheque in Los Angeles) joins regular guest David Murto and “Who's the Bossk?” host Mike Celestino for a discussion of director Stanley […] The post Who's the Bossk? – Episode 200: 2001: A Space Odyssey with Sam Rodriguez and David Murto appeared first on LaughingPlace.com.

Ep. 258: Amy Taubin on Tribeca Picks, Agnieszka Holland, Bleak Week, Mireia Sallarès's Little Deaths Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. Why go through the summer without a return visit from the inimitable Amy Taubin? On this episode we discuss a few films cherry-picked from this year's Tribeca Festival; Agnieszka Holland and her incisive latest film Green Border; the intriguing repertory series known as Bleak Week, held annually at L.A.'s American Cinematheque and recently exported to New York's Paris Theater; and two works by Mireia Sallarès, Little Deaths and The Potential History of Francesc Tosquelles, Catalonia and Fear. Plus: I share a remarkable documentary about police investigations called Roubaix, Police Department, Ordinary Business, a discovery on the OVID streaming service. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Revival House says goodbye for now with a look at one of the biggest programming groups in town, the American Cinematheque.    Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city.   Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux   Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

Revival House says goodbye for now with a look at one of the biggest programming groups in town, the American Cinematheque.    Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city.   Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux   Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

Revival House says goodbye for now with a look at one of the biggest programming groups in town, the American Cinematheque.    Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city.   Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux   Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

Revival House says goodbye for now with a look at one of the biggest programming groups in town, the American Cinematheque.    Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city.   Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux   Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

Revival House says goodbye for now with a look at one of the biggest programming groups in town, the American Cinematheque.    Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city.   Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux   Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

#281: Revival House says goodbye for now with a look at one of the biggest programming groups in town, the American Cinematheque.    Celebrating their 40th anniversary this year, screening 1500 movies a year in three iconic theaters across Los Angeles, the American Cinematheque has a movie for everybody, every night of the week. In this episode, How To LA producer Victoria Alejandro jumps into the history of these movie theaters and this programming group to shine a light on a little L.A. moviegoing history and spotlight the future of the American Cinematheque in this city.   Check out our deep dive into the Egyptian Theatre's history and reopening here:  https://omny.fm/shows/howtola/revival-house-the-egyptian-theater-redux   Guests: Professor and historian Ross Melnick, American Cinematheque artistic director Grant Moninger, Programmers Imani Davis and Cindy Flores, Senior Film Programmer Chris Lemaire

Kevin Goetz, a well-known personality within the entertainment industry, is currently a leading expert in motion picture marketing and tech-enabled research. He is often the “go-to” person when filmmakers and studios need insights into how to fix or market their pictures.  His company, Screen Engine, is one of the few firms worldwide that conducts specialized research on Hollywood's movies and television content. Goetz has been at the center of the research industry for more than three decades and has worked alongside all the major film studio chiefs, network and streaming platform executives and production company decision-makers.  Kevin wrote his first book, published by Simon & Schuster, “Audience•ology: How Moviegoers Shape the Films We Love,” about an important aspect of his business — audience pre-release test screenings.  Bringing his bestselling book to life, he is the host of the successful podcast “Don't Kill the Messenger” and continues to educate up-and-coming filmmakers, deliver keynote speeches, and give talks and presentations around the world. Kevin has also produced 12 television movies, including the Emmy-winning “Wild Iris.”  Kevin Goetz is a member of the Academy of Motion Picture Arts and Sciences and several other distinguished organizations, including The Television Academy and the Producers Guild of America. Screen Engine, a global leader in entertainment research and content testing, has been honored this month with the American Cinematheque's prestigious Power of Cinema Award in conjunction with its CEO, founder, and entertainment research veteran, Kevin Goetz.  The award was presented to Goetz at a star-studded award ceremony at the Beverly Hilton Hotel this month, along with the American Cinematheque Award presented to renowned actress Dame Helen Mirren. Harrison Ford, Bryan Cranston, Vin Diesel, Alan Cumming, Stefanie Powers, Patrick Stewart, Andrea Riseborough, and Pierce Brosnan were among the celebrities in attendance to support the honorees. #BeMoreGoetz ON THE KNOWS with Randall Kenneth Jones is a podcast featuring host Randall Kenneth Jones (bestselling author, speaker & creative communications consultant) and Susan C. Bennett (the original voice of Siri). ON THE KNOWS is produced and edited by Kevin Randall Jones. KEVIN GOETZ Online: Twitter: https://twitter.com/KEVINGOETZ360  Facebook: https://www.facebook.com/KevinGoetz360/  Instagram: https://www.instagram.com/kevingoetz360/  Web: https://kevingoetz360.com/  ON THE KNOWS Online:    Join us in the Podcast Lounge on Facebook. X (Randy): https://twitter.com/randallkjones  Instagram (Randy): https://www.instagram.com/randallkennethjones/  Facebook (Randy): https://www.facebook.com/mindzoo/  Web:  RandallKennethJones.com X (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ Web: SusanCBennett.com LinkedIn (Kevin): https://www.linkedin.com/in/kevin-randall-jones/ Web: KevinRandallJones.com   www.OnTheKnows.com

#181: Revival House – our weekly love letter to vintage and indie theaters across LA – will be back next week. Today, we're revisiting the episode from last fall that inspired the series, profiling the recently reopened Egyptian Theater in Hollywood. Original episode description below. The historic Egyptian Theater in Hollywood officially reopened its doors after a three-year closure and extensive renovation. It's sale to Netflix in 2020 drew some criticism but moviegoers so far have been enthusiastic about it being able to sit in its seats once again to watch a film. The theater has a long history in Los Angeles. When Sid Grauman first opened it in 1922 it helped establish Hollywood as a destination and the city as a place for the movies. How to LA producer Victoria Alejandro caught a movie herself at the Egyptian and joined host Brian De Los Santos to talk about the significance of it opening back up. Additional Guests: Ross Melnick, theater historian who teaches film and media at the University of California at Santa Barbara, and Grant Moninger, Artistic Director at the American Cinematheque

At Night and From a Distance: Thom Andersen's Los Angeles Plays Itself We're starting the month of December (and ending 2023) with a dive into Los Angeles in a month of programming curated by our own Ibrahim Chavez. Our first episode of December is a look at film critic and teacher, Thom Andersen's "video essay" Los Angeles Plays Itself (2003). A legend in the world of documentary filmmaking, Andersen's film was seen sporadically in screenings set up by Andersen, showings at the American Cinematheque in Los Angeles (Hollywood), and filesharings through film lovers. In 2014 the film film was finally released on DVD through Cinema Guild and can also be seen (for free) on YouTube.  Examining the city of Los Angeles in three distinctive categories (Background/Character/Subject), Andersen's film is a love letter to the city and cinema itself. Questions are asked and Answers are forwarded. Take a listen and see if you agree with our thoughts on this wonderfully entertaining look at one of the world's great cities. You can reach us at gondoramos@yahoo.com to give us your thoughts. As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. The holidays are coming an we could use the help. Stop being cheap bastards and give what you can. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos 

#181: The historic Egyptian Theater in Hollywood officially reopened its doors after a three-year closure and extensive renovation. It's sale to Netflix in 2020 drew some criticism but moviegoers so far have been enthusiastic about it being able to sit in its seats once again to watch a film. The theater has a long history in Los Angeles. When Sid Grauman first opened it in 1922 it helped establish Hollywood as a destination and the city as a place for the movies. How to LA producer Victoria Alejandro caught a movie herself at the Egyptian and joined host Brian De Los Santos to talk about the significance of it opening back up. Additional Guests: Ross Melnick, theater historian who teaches film and media at the University of California at Santa Barbara, and Grant Moninger, Artistic Director at the American Cinematheque

This month we're taking you back to the theater to listen in with us on a fascinating conversation with iconoclast director Werner Herzog. Straight from the stage at this sold out, members only screening at the American Cinematheque, Herzog discusses his beautiful and rarely seen Cherry Bomb FAMILY ROMANCE LLC, shot nearly solo in Japan and out of pocket for under 20,000 dollars. He also dishes on his love life, evading the Tokyo subway police, his eclectic book club selections and the Dalai Lama's love of vampire movies!

Screenwriter Stuart Wright talks about the new folk horror film TO FIRE YOU COME AT LAST with the writer/director Sean Hogan and "3 Films That Have Impacted Everything In Your Adult Life"A WARNING TO THE CURIOUS (1972) THE EXORCISM (1972)BABY (1976)SAT SEP 30, 2023 - TO FIRE YOU COME AT LAST plays Beyond Fest - THE BIGGEST GENRE FILM FESTIVAL IN THE US https://www.americancinematheque.com/now-showing/to-fire-you-come-at-last-and-other-folk-tales-9-30-23/“55 movies across 15 days adds up to a true celebration of the theatrical experience - the very mission at the heart of the American Cinematheque,” said American Cinematheque Director of Programming and Creative, Grant Moninger. “It is an honor to give back to the incredible film-loving community that supports us year round and the city that was literally built by Cinema.”THURS 12 OCT, 2023 - TO FIRE YOU COME AT LAST plays Mayhem Film Festival https://www.mayhemfilmfestival.com/line-upFull Festival Passes are still available for £85, giving you access to all films and events from this year's festival. Individual tickets and Frankenstein ticket packages (where you can select four films for the price of three), are now also available. For more information, and to book tickets and passes, please visit www.mayhemfilmfestival.com. For Frankenstein ticket packages, please visit Broadway's box office or contact them on 0115 952 6611.Mayhem Film Festival takes place at Broadway, Nottingham on 12-15 October 2023."3 FILMS THAT HAVE IMPACTED EVERYTHING IN YOUR ADULT LIFE" is a podcast by screenwriter Stuart Wright that explores the transformative power of cinema. From emotional masterpieces to thought-provoking classics, each episode delves into the films that have had a profound impact on our personal growth and perspective. Through engaging storytelling, critical analysis, and cultural commentary, Stuart aims to uncover the lasting influence that movies have had on his guests. Please join him on an emotional journey through the world of film and discover how just three movies can change the direction of a life, cement memories you will never forget or sometimes change how you see the world."3 FILMS THAT IMPACTED EVERYTHING IN YOUR ADULT LIFE is about those films that made you fall in love with film. The guest selects their trio of movies and we talk for 5 minutes, against the clock. When the ALARM goes off for five minutes we move onto the next film.Please consider leaving a five-star review wherever you get your podcasts if you enjoyed this. It really helps the Britflicks Podcast grow and others to discover it.CreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/)Podcast for www.britflicks.com https://www.britflicks.com/britflicks-podcast/Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

This week, Richard Shephard joins Jessica Kantor on Raising Cinephiles. His career has spanned 30 years of creating film, and TV of all shapes and sizes. His newest documentary, FILM GEEK, is screening in Los Angeles on September 22nd at the American Cinematheque. It's a personal film about his love of cinema and his relationship with his father. We discuss everything from story structure to sharing his passion for film with his two stepchildren.Buy Tickets HereFILM GEEK is a joyous and emotional look back at a movie-obsessed kid growing up in New York City and his relationship with his mysterious father. Crafted entirely out of film clips from over 200 movies, as well as his personal archives, Emmy and DGA award-winning director Richard Shepard (THE MATADOR with Pierce Brosnan) mines the material for clues to understand his own cinematic DNAFilms Discussed:Wizard of OzKing KongFriday the 13The GodfatherRaiders of the Lost ArkClose EncountersChoose MeHeartbreakers Ugly BettyLost in TranslationGirlsApocalypse NowHandmaid's TaleLolita New Episodes Every Wednesday!EPISODE CREDITS:Host, Producer, Editor: Jessica KantorBooker: Noelia MurphyBe sure to follow and tag Raising Cinephiles on Instagram

By the power of Grayskull, it is finally time we take a look back at the 1987 classic film, 'Masters of the Universe,' starring Dolph Lundgren and Frank Langella as He-Man and Skeletor respectively.Does this 80's camptastic film deserve its 22% Rotten rating on our Tomatometer, or are there some redeeming qualities to it?Host of "The Big Thing" podcast Kristian Harloff joins Mark and Jacqueline in discussing all of this and more all on today's show!For more information on the American Cinematheque and upcoming screenings, visit their site at https://www.americancinematheque.com/.If you'd like to give your thoughts on this movie or have another movie you feel like Rotten Tomatoes got wrong, email us at RTisWrong@RottenTomatoes.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Surveys show Angelenos have ambivalent opinions about the LAPD. But the local government keeps giving the department more money. Guatemala last week elected Bernardo Arévalo as president. His campaign centered on anti-corruption and political reform. What do Guatemalan Angelenos think of him? From September 2 to 23, the American Cinematheque is hosting weekly screenings of films that feature public transit in LA, including “Speed” and “The Italian Job.”

The epic political thriller "JFK" was featured last weekend at the American Cinematheque, and we had the privilege to interview writer & director Oliver Stone live on stage. Stone talks about the impact of this controversial film, and reflects on its legacy today. You'll also hear some of the filmmaker's thoughts on the state of the industry today, and why he's an even angrier, more passionate filmmaker than ever. Learn more about your ad choices. Visit megaphone.fm/adchoices

Cinephile Game Night has returned with Cinephile Summer, a brand new season featuring your favorite podcasters and filmmakers going head-to-head to see who is the ultimate cinephile. Hosted by The Film Stage's Jordan Raup, Conor O'Donnell, and Dan Mecca along with Cinephile: A Card Game creator Cory Everett, the series debuts new episodes bi-weekly on The Film Stage Show podcast feed and The Film Stage YouTube channel. For the fifth episode of Cinephile Summer, we were thrilled to face off against the epic team-up of Happy Sad Confused host Josh Horowitz, Light the Fuse hosts Drew Taylor and Charles Hood, and filmmaker and video essayist Patrick Willems. And for those of you in Los Angeles, the American Cinematheque is programming a really cool series called “Friend of the Fest” where Cory will be repping Cinephile Summer and introducing a screening of one of our favorite late summer movies, Sam Raimi's 1990 classic, Darkman this Saturday August 26th. So if you are in LA, grab tickets for that.

Kim Adelman began her producing career with the indie feature, Just Friends. She then launched the Fox Movie Channel's short film program, where the 19 shorts she produced won 30+ awards and played over 150 film festivals worldwide, including the Sundance Film Festival four years in a row.Kim Adelman currently teaches Low Budget Filmmaking at UCLA Extension and Cinema Production II at Mount Saint Mary University. In 2014, she was named UCLA Extension's Entertainment Studies Instructor of the Year. In 2016, she won its Distinguished Instructor Award.In addition to guest lecturing at UC Irvine, Cal State Fullerton, and Cal State Los Angeles, she has also taught filmmaking workshops across the US, Canada, and New Zealand. Most recently she led creative writing workshops for kids at UCLA's Hammer Museum via 826LA and filmmaking for teens at Pasadena's Norton Simon Museum.Over the past two decades, Ms. Adelman has also reported extensively on festivals and short films for Indiewire, co-programmed the American Cinematheque's annual Focus on Female Directors short film screening series for fifteen years, and co-founded FFC: the Female Filmmaking Collective. She has also been a jury member and/or a panel moderator at numerous international film festivals, including Sundance Next and the Los Angeles Film Festival during its final year.Her short film book, Making it Big in Shorts, is on its third edition and has been published internationally in Spanish and Mandarin. The three pop culture books she wrote for Penguin Random House are The Girls Guide to Elvis, The Girls Guide to Country, and The Ultimate Guide to Chick Flicks. which was also published in Japanese.She has recorded a five-part educational podcast on independent filmmaking for UCLA Extension and co-hosted the 15-episode movie adaptation podcast Book to Screen, available on iTunes. She has also appeared as cinema expert in the ARTE documentary From Weepies to Chick Flicks, E!'s Hollywood & Sex special, and the DVD extras for Love Me Tender and Ghost. She was profiled for Women Transforming Media and appeared onKim Adelman was also Director of On Air Creative Production for Style Network until that network shut down. She has worked at multiple cable networks including FX/FXM, E!, G4, PopTV, the Game Show Network, and Cinevault.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Join us live in Los Angeles as Boys' Bible Study and American Cinematheque present... LET THERE BE LIGHT (2017) on Sun., Aug 27 at 10pm. Advance tickets on sale now! Every so often, God calls upon you to watch a movie that makes you reexamine the big milestones of decision-making in your life, such as, “What if… I never hosted a Christian film podcast?” WHAT IF… is a Christian romantic drama about guardian angels and alternate timelines that would feel right at home in the 1990s trend of secular/faith-based crossover media such as TOUCHED BY AN ANGEL. However, WHAT IF… was made two decades after this angelic era, and by a very consequential team of directors, writers and producers who would soon go on to achieve great success in the faith-based film genre. Director Dallas Jenkins (son of LEFT BEHIND co-creator Jerry B. Jenkins) would go on to direct THE CHOSEN, the hugely popular contemporary Christian TV series about the ministry of Jesus. Writers Chuck Konzelman and Cary Solomon would go on to create the consequential GOD'S NOT DEAD series just a few years after the release of WHAT IF…. Finally, WHAT IF… co-producer David A.R. White (already a famous name in the genre) and star Kevin Sorbo would soon be the lead actors in GOD'S NOT DEAD, cementing their respective statuses as the contemporary titans of Christian film. WHAT IF… stars Kevin Sorbo perfectly in his favorite typecast role of a ruthless, worldly atheist. In this case, his character Ben Walker leaves his relationship with his devoutly Christian high school sweetheart Wendy (Kristy Swanson) to start a new life in the big city as a rich and successful investment banker. Sounds great, but something must be missing… right? Right? Right!? Guardian angel “Mike the Angel” (John Ratzenberger) is sent by God to dispatch Ben to a more wholesome realm, where he never left Wendy and he gets to experience the richness of family life. Through Ben's eyes, we learn that love is more important than money… but money definitely helps a lot! View our full episode list and subscribe to any of our public feeds: http://boysbiblestudy.com Unlock 2+ bonus episodes per month: http://patreon.com/boysbiblestudy Subscribe to our Twitch for monthly streams: http://twitch.tv/boysbiblestudy Follow us on Instagram: http://instagram.com/boysbiblestudy Follow us on Twitter: http://twitter.com/boysbiblestudy

"MOTTO PANUKEIKU!"For the American Cinematheque's FRIEND OF THE FEST: PODCAST FESTIVAL, Travis Woods (in the flesh) and Blake Howard (over the airwaves) will be hosting a 35 mm screening of PTA's INHERENT VICE (the subject of our podcast, INCREMENT VICE at the Los Feliz 3 on Saturday 8/26 at 7PM!GET YOUR TICKETS HERE!Support this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Buy advance tickets here: https://www.americancinematheque.com/now-showing/boys-bible-study-presents-let-there-be-light-8-27-23/ Boys' Bible Study podcast presents LET THERE BE LIGHT (2017, dir. Kevin Sorbo) with in-person introduction by Ash and Julian and remote introduction by Scott. Los Feliz 3 theater in Los Angeles. Sunday, Aug. 27 at 10pm, as a part of American Cinematheque's FRIEND OF THE FEST 2023. We're thrilled to present a very rare repertory screening of a faith-based film and LET THERE BE LIGHT will be an amazing one to watch with a crowd. We hope to see you there!

Hello listeners! In this episode, Tyler chats with Elliott Kalan, co-host of wildly successful bad movie podcast The Flop House, Emmy Award winning head writer of The Daily Show with Jon Stewart, and the creative force behind the comics MANIAC OF NEW YORK and MANIAC OF NEW YORK: THE BRONX IS BURNING.  Elliott discusses his earliest inspirations for Maniac Harry, a masked and immortal killer, whose murderous rampages become a semi-regular occurrence/nuisance to New Yorkers, his rules of satire and thoughts on storytelling as a vehicle for social messaging, plus why THE TAKING OF PELHAM 123 is his favorite film and a glorious portrait of '70s New York. Lastly, Elliott gives some insight into the ongoing writer's strike and how to support those most impacted by it.  Links to MANIAC OF NEW YORK and MANIAC OF NEW YORK: THE BRONX IS BURNING https://www.skylightbooks.com/book/9781949028713  https://www.skylightbooks.com/book/9781956731040 Link to the Entertainment Community Relief Fund:  https://entertainmentcommunity.org/ Produced by Tyler Austin, Mick Kowaleski, & Alena Saunders Opening music: "Optimism (Instrumental)" by Duck the Piano Wire Closing music: "Rule of 3s (Solemnity Child)" by Elastic No-No Band The Better Than the Movie guys will be at the American Cinematheque's FRIEND OF THE FEST! They'll be hosting a screening of Sally Potter's ORLANDO (1992) on Sunday, August 27th, at the Los Feliz 3. It's right next door to Skylight, come hang out and watch a movie with the BTTM gang!  Tickets found here: https://www.americancinematheque.com/now-showing/the-skylight-books-podcast-presents-orlando-8-27-23/

Round three! In this episode, Elric and Brian roam the shelves of the Pure Cinema Virtual Video store with yet another round of 5 more picks each from various different sections! As mentioned in the episode, we are hosting a screening of Altman's CALIFORNIA SPLIT on Friday August 25th at 7pm at the Los Feliz 3 Theater as part of the American Cinematheque's "Friend of the Fest" Series. Get tickets here: https://www.americancinematheque.com/now-showing/pure-cinema-podcast-presents-california-split-8-25-23/ Consider supporting Pure Cinema (and getting monthly bonus content) via our Patreon: https://www.patreon.com/purecinemapod This episode is sponsored by MUBI! Get 30 days of great cinema free at https://mubi.com/purecinema (and we'd love it if you would give them a try!) Follow the Show on Twitter: twitter.com/purecinemapod Instagram: www.instagram.com/purecinemapod/ and Facebook: www.facebook.com/purecinemapod/

It's Die Hard in a meta fantasy satire! Phil and Liam enter the weird and not-so-wonderful world of LAST ACTION HERO, the deconstructionist meta fantasy satire (and infamous box office flop) that has gained a growing cult following in the 30 years since its original release.  Last Action Hero wasn't just a movie, it was a pop-culture juggernaut, but ultimately it failed to deliver on the promise of its admittedly ingenious premise (at least according to Phil): thanks to a “magic ticket”, film-obsessed kid Danny (Austin O'Brien) gets sucked into the world of an action movie and has to team up with his favorite action hero Jack Slater (Arnold Schwarzenegger), using his encyclopedic knowledge of the genre to help solve the case, defeat omnipotent bad guy Benedict (Charles Dance) and save the day. The guys start by discussing their feelings and fandom for Schwarzenegger, whose legacy is currently being reappraised in light of the Netflix documentary Arnold. They recall their memories of the summer of the 1993, where Last Action Hero was crushed at the box office by the might of Jurassic Park, before finding a second, sustained life on home video. Last Action Hero famously had a revolving door of top-tier writers (some credited, some not) during its brief yet tortured production history, including some of the most prominent ‘script doctors' in Hollywood, notably William Goldman and Carrie Fisher. This leads to a discussion of the exact role of script doctors, as Phil offers his two cents on how the film might have been saved at the story stage. Alternative directors and actors are also discussed, and Liam offers a spirited defense of this much-maligned film, praising its inventiveness, imagination and influence on subsequent meta movies. The ‘Die Hard Oscars' continue to stoke controversy, and this week's ‘Double Jeopardy' trivia quiz is almost as complicated and convoluted as the film itself!  LAST ACTION HERO trailer https://www.youtube.com/watch?v=ShBw43KJoLk   At the time of release, LAST ACTION HERO is streaming on Netflix and Hulu and is available to rent or buy through Amazon Prime Video, Apple/iTunes, YouTube, RedBox, Vudu, DirectTV and all the usual platforms. If you're in LA, LAST ACTION HERO screens at the American Cinematheque on July 16, 2023. Support this podcast at — https://redcircle.com/die-hard-on-a-blank/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

My guest today is a special one. He's absolutely one of the most unsung heroes in the world of films and filmmaking, and particularly in this age when movies being shot and projected on film is a rarity. Benjamin Tucker is a film projectionist. But he also happens to be the Chief Projectionist at the American Cinematheque in Los Angeles…and is responsible for projecting some of the most memorable and important films and creating an experience that is truly the definition of movie magic. It's a fascinating talk that delves into the purest passions of why we love movies, and why seeing them projected in a theater with an audience can be a religious experience… Church is session, no heretics allowed! It's a great talk!   Please listen, enjoy, and share! Learn more about your ad choices. Visit megaphone.fm/adchoices

In 2001, writer/director Richard Kelly's genre-busting rookie feature DONNIE DARKO crashed and burned at the box office. But it almost immediately rose from the ashes to become one of the first cult hits of the 21st century...and it took the music of '80s band Tears for Fears along for the ride.Host Rico Gagliano tells this twisty tale with the help of Kelly, star Jena Malone (THE HUNGER GAMES), and the film's composer Michael Andrews—whose stripped-down cover of Tears's "Mad World" became maybe the most unlikely smash hit in UK history. To celebrate our new season of the podcast, we're partnering with the American Cinematheque to present a double feature of DONNIE DARKO and THE EVIL DEAD on Sunday April 9th at Santa Monica's Aero Theatre. Rico Gagliano and Richard Kelly will attend for an in-person discussion. For more details, check out the American Cinematheque's website here.The third season of the MUBI Podcast, titled “Needle on the Record,” dives into the unifying power of movie music and tells the stories behind some of cinema's most renowned “needle drops”—moments where filmmakers deployed pre-existing music instead of an original score. Each episode explores an iconic marriage of song and image that's become part of pop culture. It's a six-part mixtape for film lovers.To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor dedicated to elevating great cinema. MUBI makes, acquires, curates, and champions extraordinary films, connecting them to audiences all over the world. A place to discover ambitious new films and singular voices, from iconic directors to emerging auteurs. Each carefully chosen by MUBI's curators.And with MUBI GO, members in select countries can get a hand-picked cinema ticket every single week, to see the best new films in real cinemas. To learn more, visit mubi.com/go

This week, we finish our three part episode on the 1980s distribution company Vestron Pictures. ----more---- The movies discussed on this week's episode are: The Adventures of a Gnome Named Gnorm (1990, Stan Winston) Big Man on Campus (1989, Jeremy Paul Kagan) Dream a Little Dream (1989, Marc Rocco) Earth Girls Are Easy (1989, Julien Temple) Far From Home (1989, Meiert Avis) Paperhouse (1989, Bernard Rose) Parents (1989, Bob Balaban) The Rainbow (1989, Ken Russell) Wonderland (1989, Philip Saville)   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.   At the end of the previous episode, Vestron Pictures was starting to experience the turbulence a number of independent distributors faced when they had a successful film too soon out of the gate, and the direction of the company seemingly changes to go chasing more waterfalls instead of sticking to the rivers and the lakes they were used to.   Welcome to Part Three of our miniseries.   As we enter 1989, Vestron is seriously in trouble. More money has gone out then has come back in. It seems that they needed one more hit to keep going for a while longer. But if you were to look at their release schedule for the year, which included a pickup from the recently bankrupt DeLaurentiis Entertainment Group, there wasn't really anything that felt like it could be a Dirty Dancing-like break out, except for maybe the pickup from the recently bankrupt DeLaurentiis Entertainment Group.    But we'll get there in a moment.   Their first film from 1989 is a certifiable cult film if there ever was one, but the problem with this label is that the film tagged as so was not a success upon its initial theatrical release. Bob Balaban, the beloved character actor who had been regularly seen on screen since his memorable debut in Midnight Cowboy twenty years earlier, would make his directorial debut with the black comedy horror film Parents.   Bryan Madorsky stars as Michael Laemle, a ten year old boy living in the California suburbs in the 1950s, who starts to suspect mom and dad, played by Mary Beth Hurt and Randy Quaid, might be cannibals. It's a strange but fun little movie, and even Ken Russell would compare it favorably over David Lynch's Blue Velvet during one contemporary interview, but sadly, it would take far more time for the film to find its audience than Vestron could afford.   Opening in 94 theatres on January 27th, the $3m Parents could not overcome a series of negative reviews from critics, and it would only gross $278k in its first three days. Vestron would not strike any additional prints of the film, and would cycle the ones they did have around the country for several months, but after four months, the film could only attract $870k in box office receipts. But it would become something of a cult hit on video later in the year.   In 1992, British filmmaker Bernard Rose would make his American directing debut with an all-time banger, Candyman. But he wouldn't gotten Candyman if it wasn't for his 1989 film Paperhouse, an inventive story about a young girl whose drawings seem to manifest into reality. British actor Ben Cross from Chariots of Fire and American actress Glenne Headly from Dirty Rotten Scoundrels plays the young girl's parents.   Outside of Gene Siskel, who would give the film a thumbs down on his movie review show with Roger Ebert despite acknowledging Rose's talent as a filmmaker and being fascinated by the first two-thirds of the movie, the critical consensus was extraordinary. But it appears Siskel may have never actually written a review of the film for the Chicago Tribune, as the film still has a 100% Fresh rating on Rotten Tomatoes. But the film would only earn $6,700 from its single screen playdate at the Carnegie Hall Cinemas when it opened on February 17th, and the film would get little support from Vestron after that. More single playdates in major cities that added up to a $241k box office tally after fourteen weeks in release.   Marc Rocco's Dream a Little Dream would be the third film in The Two Coreys Cinematic Universe. Corey Feldman plays a high school student who, through one of the strangest plot twists in the whole body switching genre, finds himself switching places with two time Academy Award-winner Jason Robards, playing a professor who is looking for immortality through entering a meditative alpha state. Meredith Salinger and Piper Laurie also find themselves switching bodies as well, while Corey Haim plays the goofball best friend with not a whole lot to do. The supporting cast also includes veteran character actors Harry Dean Stanton and Alex Rocco, the latter who agreed to do the film because it was directed by his son.   When the film opened on March 3rd, it would be Vestron's second widest release, opening on more than 1,000 theatres. But just like the previous year's License to Drive, the pairing of Corey Haim and Corey Feldman did not set the box office on fire, opening in fifth place with $2.57m in ticket sales, compared to the #1 film of the week, the Morgan Freeman drama Lean on Me, which would gross twice as much as Dream a Little Dream while playing in 125 fewer theatres. In its second week, the film would lose 56 theatres and 52% of its opening weekend audience, falling all the way to 13th place with a gross of only $1.25m. By week three, the movie would move to dollar houses, and trudge along for several more months, until it closed in the middle of summer with only $5.55m in the till.   In the late 1970s and early 1980s, writer/director Jeremy Paul Kagan had directed and occasionally written several big ticket movies, including the 1977 Henry Winkler drama Heroes, which also starred Sally Field and, in his first post-Star Wars movie, Harrison Ford, and the 1985 Meredith Salinger/John Cusack adventure film The Journey of Natty Gann. Which makes his Natty Gann follow up, Big Man on Campus, such a head scratcher.   A modern adaptation of The Hunchback of Notre Dame, Big Man on Campus was written by Allan Katz, who had been working in television for nearly twenty years writing for and producing shows like All in the Family, Sanford and Son, The Mary Tyler Moore Show and MASH. Katz would also star in the movie as the titular hunchback, even though he had never once acted on any of his shows. But at least he had a good cast supporting him, including Gerrit Graham, Melora Hardin, Jessica Harper, Tom Skerritt, and Cindy Williams.   I can only find one playdate for the film ever, in Los Angeles at the American Cinematheque in March 1989, so while this mostly qualifies as a direct to video release, I feel compelled to at least give it a token mention here.   Have you ever heard of a movie called The Fruit Machine? Of course you haven't, because that's a horrible name for a movie, no matter what it's about. When Vestron acquired this British drama about young gay men who go on the run after they witness a murder, the first thing they did was change the title to Wonderland. Not that Wonderland gives you any more of an idea of what the movie is about than The Fruit Machine. But, whatever.   Today, the movie has two things going for it. One, an early role for Robbie Coltrane, playing a transvestite who operates a nightclub for gay men and transvestites called, you guessed it, The Fruit Machine. Second, the musical score was written by Hans Zimmer, in one of his earliest film jobs. Ironically, Wonderland would be the the third movie scored by Hans Zimmer to be released by Vestron in a four month period, after Burning Secret and Paperhouse.   Wonderland would open at the Quad Cinemas in New York City on April 28th, to poor reviews but a decent $11,500 opening weekend. But the film would not be able to maintain much of an audience, and after five weeks, Wonderland was out of the Quad Cinemas, never to play another theatre in America, with just $50k in the till.   Ken Russell's third and final film in his contract with Vestron was The Rainbow, an adaptation of a 1915 novel by D.H. Lawrence, whose 1920 novel Women in Love had been adapted by Russell in 1969. Glenda Jackson, who had won the Academy Award for her role in Women in Love, here plays the mother of the character she played in the other film. Here, she co-stars with Sammi Davis as Ursala, the younger sister of Jackson's Women in Love character, who finds herself attracted to Anton, a young man in town, as well as her gym teacher Winifred.   As one would expect from Ken Russell, the supporting cast is top notch, including future Eighth Doctor Paul McGann, regular Russell collaborator Christopher Gable, and Blowup star David Hemmings. The film would open at the Paris Theatre in New York City on May 5th, where it would gross a very good $22k, spurred on by great reviews from most of the city's major critics, several of which noted the film to be Russell's best in a number of years. So it would be sad that the film would end up being the lowest grossing of the three films he'd make with Vestron, only earning a total of $444k after three months in mostly single playdates in major markets.   In 1985, Geena Davis and Jeff Goldblum would work together on a forgettable horror comedy film called Transylvania 6-5000, whose name was a pun on a popular 1940 song recorded by Glenn Miller. In 1986, the pair would work together again in David Cronenberg's amazing remake of the cheesy 1950s horror film The Fly. In late 1987, shortly after the pair married, they would work together for a third time, on another comedy, and on a movie that was this time based on an actual song.    Earth Girls Are Easy was the name of a song that appeared on comedian Julie Brown's 1984 EP Goddess in Progress, and was originally developed as a movie at Warner Brothers Studio. The studio would get cold feet when Absolute Beginners, the big British musical directed by music video director Julien Temple, failed big time everywhere in the world except for the UK. Temple was slated to direct Earth Girls Are Easy, and Brown, as the co-writer and co-star of the film, was committed to the filmmaker, even if it meant Warners putting the film into turnaround.   Which they did, in 1986.   It would take nearly a year to get the project back on track, after being rejected by every other major studio and production company in Hollywood, until the French banking giant Credit Lyonnais agree to finance the film, provided they could cut the budget from $14m to $10m, and if the filmmakers could make a distribution deal with the bank's preferred distributor, the then newly-formed DeLaurentiis Entertainment Group.   The film, about a manicurist in Los Angeles who helps three aliens blend into human culture after they accidentally crash land their spaceship into her pool, would begin production in Los Angeles in October 1987. Davis played the manicurist, and Goldblum one of the aliens, alongside Damon Wayans and Jim Carrey, while the remaining cast would include a number of great comedic actors like MASH's Larry Linville, Michael McKean, Rick Overton, and Charles Rocket, as well as Los Angeles media personality Angelyne as basically herself.   While the film was nearing completion in early 1988, the DeLaurentiis Entertainment Group would go out of business, leaving Credit Lyonnais in need of a new distributor for their investment. But after Temple turned in his first cut of the film, Credit Lyonnais would send Temple back into his editing bay, where he and his team would spend nearly another five months  winnowing out various scenes and completely excising a big and expensive musical number based on one of the other songs on Brown's 1984 EP, I Like ‘Em Big and Stupid, because it just didn't work for the film. Additional scenes would be shot, and the budget would end up being $11m.    The film would have its premiere at the Toronto Film Festival in September 1988, and attract attention from a number of distributors including MGM/UA, New World Pictures and Twentieth Century-Fox, but Vestron would end up putting in the winning bid.   The film would originally be set for a February 1989 release, but would get delayed until May 12th. When it finally opened on 317 screens in Boston, Chicago, Los Angeles, New York, Philly, San Francisco, Toronto and Washington DC, the film would gross $893k, putting in twelfth place for the weekend, but its per screen average would be the fourth best amongst the films in the top twenty. The film would fall one place in its second week,  losing 35% of its opening weekend audience, grossing $577k. The film would slowly hemorrhage theatres and box office until the plug was pulled in mid-July with only $3.9m in tickets sold.   The sole lasting legacy of the film is that Damon Wayans enjoyed working so much with Jim Carrey that when Damon's brother Kenan Ivory Wayans was putting together a new comedy television show together thanks to the success of his movie I'm Gonna Get You Sucka, Damon would get his brother to give Carrey a chance. In Living Color would make Carrey and the Wayans Brothers stars, and would change the course of comedy. So there's that…   In late June, the Lightning Pictures imprint would release their first movie in nearly two years, Far From Home. The film starred the then-fourteen year old Drew Barrymore as a young girl traveling cross country with her father, who get stuck in a small desert town in Nevada on their way to back to Los Angeles, who must deal with some very strange characters in the trailer park they're staying in, as they slowly discover nothing is as it's supposed to be. Matt Frewer, Max Headroom himself, plays the dad, who must protect his daughter while he figures out how to get the hell out of town alive.   Truth be told, the movie sucks, and it's really creepy in how it sexualizes Barrymore, but there's one hell of a great supporting cast doing their best to keep the joint from totally stinking the place up. Richard Masur, Academy Award nominee Susan Tyrell, Anthony Rapp from Adventures in Babysitting, Jennifer Tilly, and beloved character actor Dick Miller. When Vestron opened the film in four theatres in third-tier regions on June 30th, it was little surprise the film got some very bad notices, although one unnamed reviewer for Variety felt the need to note that Barrymore, who again was only fourteen at the time, had “a baby face, dreamy eyes and a playboy model's body.” The film would gross just $3,763 in its first and only weekend in theatres.   But that wasn't even the worst news of the week for Vestron.   On the same day as they opened Far From Home, Vestron had been informed by Security Pacific Bank in Los Angeles that the $100 million line of credit the company had with them was being terminated. 140 of the approximately 300 Vestron staff members, mostly from the Los Angeles office, were let go, including the President of Production, the Senior Vice President of Marketing and Distribution, and the Vice President of Publicity and Promotion. While Vestron Video would continue for a while, in large part thanks to a $15.7m payoff during a dispute over home video ownership rights to the 1986 Best Picture winner Platoon, the theatrical distribution unit was effectively dead. Some movies, including the Fred Savage/Howie Mandel comedy Little Monsters, the Harry Dean Stanton-led comedy Twister, and the Kathryn Bigelow-directed action thriller Blue Steel with Jamie Lee Curtis, would be sold off to other companies, but the titles left behind would see their planned theatrical releases cancelled and eventually be released direct to video.   Thanks to some of the legacy titles in their video catalog, including Dirty Dancing, Vestron would be able to stave off the inevitable, but in January 1991, the company would file for bankruptcy, their final film being the Stan Winston-directed fantasy buddy comedy The Adventures of a Gnome named Gnorm. Filmed in 1988 as Upward, the film featured Anthony Michael Hall as an Los Angeles Police Detective who has to team up with a gnome, a puppet created by Winston, the effects wizard who also directed the film, to solve a murder. For Winston, it was deja vu all over again, as his previous directorial effort, Pumpkinhead, found itself in limbo for a while when its distributor, the DeLaurentiis Entertainment Group, filed for bankruptcy in 1987 before they could release that film.   In bankruptcy court, Live Entertainment, partially owned by 1990s mega movie production company Carolco Pictures, would purchase all of Vestron's assets for $24m. Live used the assets as collateral to secure a line of credit from industry friendly banks, so they could start their own production and distribution company, of which their only moment of note was helping to finance Reservoir Dogs when no one else would.   Eventually, Live Entertainment would be sold off to Bain Capital, a private investment firm co-founded by Mitt Romney, in 1997, and they would rebrand Live as Artisan Entertainment. Artisan today is best known as the little independent distributor of The Blair Witch Project, but they also would enter into an agreement with Marvel Comics to make movies for 15 of their characters, including Ant-Man, Black Panther, Deadpool, Iron Fist, Longshot, Morbius, Mort the Dead Teenager, and the Power Pack.   Artisan would produce two movies based on Marvel characters, Man-Thing and The Punisher, although neither of those films would be released by Artisan. Artisan would declare bankruptcy in 2003, and Marvel would be one of the companies to place a bid for them. Lionsgate would end up becoming the winning bidder for Artisan's assets, which is how the vast majority of Vestron titles are now owned by a company that didn't even exist when Vestron closed shop.   Today, Lionsgate is the owner of the assets of a number of the companies we've spoken about on this podcast in the past, and will be talking about in the future, including Crown International, the DeLaurentiis Entertainment Group, Embassy Pictures, and New World Pictures. And it's also a major reason why so many of the movies we discuss in these episodes looking back at past companies are completely unknown today. As big as Lionsgate is, with nearly $3.6 billion in revenue in 2022, they aren't going to be able to keep up with the chain of ownership for every movies from every company they've purchased, and they're not going to put the money in to the movies that are barely remembered today. The Film Foundation, the non-profit organization co-founded by Woody Allen, Francis Ford Coppola, Martin Scorsese and Steven Spielberg, which is dedicated to film preservation, estimates the average cost to do a photochemical restoration of a color feature with sound to between $80,000 to $450,000 dollars, not including the cost of a 2k or 4k digital scan. I'm going to have a link in the show notes on our website at The80sMoviePodcast.com to a November 2018 article from the Science History Institute about the process of restoring films. It's not a long read, but it's a fascinating read. I hope you'll check it out.   So there you have it, the end of the line for Vestron Pictures, and many of the movies they helped to make and distribute, most of which you cannot find today in any form.   Thank you for listening.   We'll talk again next week when Episode 105, on the 1985 teen comedy O.C. and Stiggs, directed by Robert Altman, will be discussed.   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.

This week, we finish our three part episode on the 1980s distribution company Vestron Pictures. ----more---- The movies discussed on this week's episode are: The Adventures of a Gnome Named Gnorm (1990, Stan Winston) Big Man on Campus (1989, Jeremy Paul Kagan) Dream a Little Dream (1989, Marc Rocco) Earth Girls Are Easy (1989, Julien Temple) Far From Home (1989, Meiert Avis) Paperhouse (1989, Bernard Rose) Parents (1989, Bob Balaban) The Rainbow (1989, Ken Russell) Wonderland (1989, Philip Saville)   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.   At the end of the previous episode, Vestron Pictures was starting to experience the turbulence a number of independent distributors faced when they had a successful film too soon out of the gate, and the direction of the company seemingly changes to go chasing more waterfalls instead of sticking to the rivers and the lakes they were used to.   Welcome to Part Three of our miniseries.   As we enter 1989, Vestron is seriously in trouble. More money has gone out then has come back in. It seems that they needed one more hit to keep going for a while longer. But if you were to look at their release schedule for the year, which included a pickup from the recently bankrupt DeLaurentiis Entertainment Group, there wasn't really anything that felt like it could be a Dirty Dancing-like break out, except for maybe the pickup from the recently bankrupt DeLaurentiis Entertainment Group.    But we'll get there in a moment.   Their first film from 1989 is a certifiable cult film if there ever was one, but the problem with this label is that the film tagged as so was not a success upon its initial theatrical release. Bob Balaban, the beloved character actor who had been regularly seen on screen since his memorable debut in Midnight Cowboy twenty years earlier, would make his directorial debut with the black comedy horror film Parents.   Bryan Madorsky stars as Michael Laemle, a ten year old boy living in the California suburbs in the 1950s, who starts to suspect mom and dad, played by Mary Beth Hurt and Randy Quaid, might be cannibals. It's a strange but fun little movie, and even Ken Russell would compare it favorably over David Lynch's Blue Velvet during one contemporary interview, but sadly, it would take far more time for the film to find its audience than Vestron could afford.   Opening in 94 theatres on January 27th, the $3m Parents could not overcome a series of negative reviews from critics, and it would only gross $278k in its first three days. Vestron would not strike any additional prints of the film, and would cycle the ones they did have around the country for several months, but after four months, the film could only attract $870k in box office receipts. But it would become something of a cult hit on video later in the year.   In 1992, British filmmaker Bernard Rose would make his American directing debut with an all-time banger, Candyman. But he wouldn't gotten Candyman if it wasn't for his 1989 film Paperhouse, an inventive story about a young girl whose drawings seem to manifest into reality. British actor Ben Cross from Chariots of Fire and American actress Glenne Headly from Dirty Rotten Scoundrels plays the young girl's parents.   Outside of Gene Siskel, who would give the film a thumbs down on his movie review show with Roger Ebert despite acknowledging Rose's talent as a filmmaker and being fascinated by the first two-thirds of the movie, the critical consensus was extraordinary. But it appears Siskel may have never actually written a review of the film for the Chicago Tribune, as the film still has a 100% Fresh rating on Rotten Tomatoes. But the film would only earn $6,700 from its single screen playdate at the Carnegie Hall Cinemas when it opened on February 17th, and the film would get little support from Vestron after that. More single playdates in major cities that added up to a $241k box office tally after fourteen weeks in release.   Marc Rocco's Dream a Little Dream would be the third film in The Two Coreys Cinematic Universe. Corey Feldman plays a high school student who, through one of the strangest plot twists in the whole body switching genre, finds himself switching places with two time Academy Award-winner Jason Robards, playing a professor who is looking for immortality through entering a meditative alpha state. Meredith Salinger and Piper Laurie also find themselves switching bodies as well, while Corey Haim plays the goofball best friend with not a whole lot to do. The supporting cast also includes veteran character actors Harry Dean Stanton and Alex Rocco, the latter who agreed to do the film because it was directed by his son.   When the film opened on March 3rd, it would be Vestron's second widest release, opening on more than 1,000 theatres. But just like the previous year's License to Drive, the pairing of Corey Haim and Corey Feldman did not set the box office on fire, opening in fifth place with $2.57m in ticket sales, compared to the #1 film of the week, the Morgan Freeman drama Lean on Me, which would gross twice as much as Dream a Little Dream while playing in 125 fewer theatres. In its second week, the film would lose 56 theatres and 52% of its opening weekend audience, falling all the way to 13th place with a gross of only $1.25m. By week three, the movie would move to dollar houses, and trudge along for several more months, until it closed in the middle of summer with only $5.55m in the till.   In the late 1970s and early 1980s, writer/director Jeremy Paul Kagan had directed and occasionally written several big ticket movies, including the 1977 Henry Winkler drama Heroes, which also starred Sally Field and, in his first post-Star Wars movie, Harrison Ford, and the 1985 Meredith Salinger/John Cusack adventure film The Journey of Natty Gann. Which makes his Natty Gann follow up, Big Man on Campus, such a head scratcher.   A modern adaptation of The Hunchback of Notre Dame, Big Man on Campus was written by Allan Katz, who had been working in television for nearly twenty years writing for and producing shows like All in the Family, Sanford and Son, The Mary Tyler Moore Show and MASH. Katz would also star in the movie as the titular hunchback, even though he had never once acted on any of his shows. But at least he had a good cast supporting him, including Gerrit Graham, Melora Hardin, Jessica Harper, Tom Skerritt, and Cindy Williams.   I can only find one playdate for the film ever, in Los Angeles at the American Cinematheque in March 1989, so while this mostly qualifies as a direct to video release, I feel compelled to at least give it a token mention here.   Have you ever heard of a movie called The Fruit Machine? Of course you haven't, because that's a horrible name for a movie, no matter what it's about. When Vestron acquired this British drama about young gay men who go on the run after they witness a murder, the first thing they did was change the title to Wonderland. Not that Wonderland gives you any more of an idea of what the movie is about than The Fruit Machine. But, whatever.   Today, the movie has two things going for it. One, an early role for Robbie Coltrane, playing a transvestite who operates a nightclub for gay men and transvestites called, you guessed it, The Fruit Machine. Second, the musical score was written by Hans Zimmer, in one of his earliest film jobs. Ironically, Wonderland would be the the third movie scored by Hans Zimmer to be released by Vestron in a four month period, after Burning Secret and Paperhouse.   Wonderland would open at the Quad Cinemas in New York City on April 28th, to poor reviews but a decent $11,500 opening weekend. But the film would not be able to maintain much of an audience, and after five weeks, Wonderland was out of the Quad Cinemas, never to play another theatre in America, with just $50k in the till.   Ken Russell's third and final film in his contract with Vestron was The Rainbow, an adaptation of a 1915 novel by D.H. Lawrence, whose 1920 novel Women in Love had been adapted by Russell in 1969. Glenda Jackson, who had won the Academy Award for her role in Women in Love, here plays the mother of the character she played in the other film. Here, she co-stars with Sammi Davis as Ursala, the younger sister of Jackson's Women in Love character, who finds herself attracted to Anton, a young man in town, as well as her gym teacher Winifred.   As one would expect from Ken Russell, the supporting cast is top notch, including future Eighth Doctor Paul McGann, regular Russell collaborator Christopher Gable, and Blowup star David Hemmings. The film would open at the Paris Theatre in New York City on May 5th, where it would gross a very good $22k, spurred on by great reviews from most of the city's major critics, several of which noted the film to be Russell's best in a number of years. So it would be sad that the film would end up being the lowest grossing of the three films he'd make with Vestron, only earning a total of $444k after three months in mostly single playdates in major markets.   In 1985, Geena Davis and Jeff Goldblum would work together on a forgettable horror comedy film called Transylvania 6-5000, whose name was a pun on a popular 1940 song recorded by Glenn Miller. In 1986, the pair would work together again in David Cronenberg's amazing remake of the cheesy 1950s horror film The Fly. In late 1987, shortly after the pair married, they would work together for a third time, on another comedy, and on a movie that was this time based on an actual song.    Earth Girls Are Easy was the name of a song that appeared on comedian Julie Brown's 1984 EP Goddess in Progress, and was originally developed as a movie at Warner Brothers Studio. The studio would get cold feet when Absolute Beginners, the big British musical directed by music video director Julien Temple, failed big time everywhere in the world except for the UK. Temple was slated to direct Earth Girls Are Easy, and Brown, as the co-writer and co-star of the film, was committed to the filmmaker, even if it meant Warners putting the film into turnaround.   Which they did, in 1986.   It would take nearly a year to get the project back on track, after being rejected by every other major studio and production company in Hollywood, until the French banking giant Credit Lyonnais agree to finance the film, provided they could cut the budget from $14m to $10m, and if the filmmakers could make a distribution deal with the bank's preferred distributor, the then newly-formed DeLaurentiis Entertainment Group.   The film, about a manicurist in Los Angeles who helps three aliens blend into human culture after they accidentally crash land their spaceship into her pool, would begin production in Los Angeles in October 1987. Davis played the manicurist, and Goldblum one of the aliens, alongside Damon Wayans and Jim Carrey, while the remaining cast would include a number of great comedic actors like MASH's Larry Linville, Michael McKean, Rick Overton, and Charles Rocket, as well as Los Angeles media personality Angelyne as basically herself.   While the film was nearing completion in early 1988, the DeLaurentiis Entertainment Group would go out of business, leaving Credit Lyonnais in need of a new distributor for their investment. But after Temple turned in his first cut of the film, Credit Lyonnais would send Temple back into his editing bay, where he and his team would spend nearly another five months  winnowing out various scenes and completely excising a big and expensive musical number based on one of the other songs on Brown's 1984 EP, I Like ‘Em Big and Stupid, because it just didn't work for the film. Additional scenes would be shot, and the budget would end up being $11m.    The film would have its premiere at the Toronto Film Festival in September 1988, and attract attention from a number of distributors including MGM/UA, New World Pictures and Twentieth Century-Fox, but Vestron would end up putting in the winning bid.   The film would originally be set for a February 1989 release, but would get delayed until May 12th. When it finally opened on 317 screens in Boston, Chicago, Los Angeles, New York, Philly, San Francisco, Toronto and Washington DC, the film would gross $893k, putting in twelfth place for the weekend, but its per screen average would be the fourth best amongst the films in the top twenty. The film would fall one place in its second week,  losing 35% of its opening weekend audience, grossing $577k. The film would slowly hemorrhage theatres and box office until the plug was pulled in mid-July with only $3.9m in tickets sold.   The sole lasting legacy of the film is that Damon Wayans enjoyed working so much with Jim Carrey that when Damon's brother Kenan Ivory Wayans was putting together a new comedy television show together thanks to the success of his movie I'm Gonna Get You Sucka, Damon would get his brother to give Carrey a chance. In Living Color would make Carrey and the Wayans Brothers stars, and would change the course of comedy. So there's that…   In late June, the Lightning Pictures imprint would release their first movie in nearly two years, Far From Home. The film starred the then-fourteen year old Drew Barrymore as a young girl traveling cross country with her father, who get stuck in a small desert town in Nevada on their way to back to Los Angeles, who must deal with some very strange characters in the trailer park they're staying in, as they slowly discover nothing is as it's supposed to be. Matt Frewer, Max Headroom himself, plays the dad, who must protect his daughter while he figures out how to get the hell out of town alive.   Truth be told, the movie sucks, and it's really creepy in how it sexualizes Barrymore, but there's one hell of a great supporting cast doing their best to keep the joint from totally stinking the place up. Richard Masur, Academy Award nominee Susan Tyrell, Anthony Rapp from Adventures in Babysitting, Jennifer Tilly, and beloved character actor Dick Miller. When Vestron opened the film in four theatres in third-tier regions on June 30th, it was little surprise the film got some very bad notices, although one unnamed reviewer for Variety felt the need to note that Barrymore, who again was only fourteen at the time, had “a baby face, dreamy eyes and a playboy model's body.” The film would gross just $3,763 in its first and only weekend in theatres.   But that wasn't even the worst news of the week for Vestron.   On the same day as they opened Far From Home, Vestron had been informed by Security Pacific Bank in Los Angeles that the $100 million line of credit the company had with them was being terminated. 140 of the approximately 300 Vestron staff members, mostly from the Los Angeles office, were let go, including the President of Production, the Senior Vice President of Marketing and Distribution, and the Vice President of Publicity and Promotion. While Vestron Video would continue for a while, in large part thanks to a $15.7m payoff during a dispute over home video ownership rights to the 1986 Best Picture winner Platoon, the theatrical distribution unit was effectively dead. Some movies, including the Fred Savage/Howie Mandel comedy Little Monsters, the Harry Dean Stanton-led comedy Twister, and the Kathryn Bigelow-directed action thriller Blue Steel with Jamie Lee Curtis, would be sold off to other companies, but the titles left behind would see their planned theatrical releases cancelled and eventually be released direct to video.   Thanks to some of the legacy titles in their video catalog, including Dirty Dancing, Vestron would be able to stave off the inevitable, but in January 1991, the company would file for bankruptcy, their final film being the Stan Winston-directed fantasy buddy comedy The Adventures of a Gnome named Gnorm. Filmed in 1988 as Upward, the film featured Anthony Michael Hall as an Los Angeles Police Detective who has to team up with a gnome, a puppet created by Winston, the effects wizard who also directed the film, to solve a murder. For Winston, it was deja vu all over again, as his previous directorial effort, Pumpkinhead, found itself in limbo for a while when its distributor, the DeLaurentiis Entertainment Group, filed for bankruptcy in 1987 before they could release that film.   In bankruptcy court, Live Entertainment, partially owned by 1990s mega movie production company Carolco Pictures, would purchase all of Vestron's assets for $24m. Live used the assets as collateral to secure a line of credit from industry friendly banks, so they could start their own production and distribution company, of which their only moment of note was helping to finance Reservoir Dogs when no one else would.   Eventually, Live Entertainment would be sold off to Bain Capital, a private investment firm co-founded by Mitt Romney, in 1997, and they would rebrand Live as Artisan Entertainment. Artisan today is best known as the little independent distributor of The Blair Witch Project, but they also would enter into an agreement with Marvel Comics to make movies for 15 of their characters, including Ant-Man, Black Panther, Deadpool, Iron Fist, Longshot, Morbius, Mort the Dead Teenager, and the Power Pack.   Artisan would produce two movies based on Marvel characters, Man-Thing and The Punisher, although neither of those films would be released by Artisan. Artisan would declare bankruptcy in 2003, and Marvel would be one of the companies to place a bid for them. Lionsgate would end up becoming the winning bidder for Artisan's assets, which is how the vast majority of Vestron titles are now owned by a company that didn't even exist when Vestron closed shop.   Today, Lionsgate is the owner of the assets of a number of the companies we've spoken about on this podcast in the past, and will be talking about in the future, including Crown International, the DeLaurentiis Entertainment Group, Embassy Pictures, and New World Pictures. And it's also a major reason why so many of the movies we discuss in these episodes looking back at past companies are completely unknown today. As big as Lionsgate is, with nearly $3.6 billion in revenue in 2022, they aren't going to be able to keep up with the chain of ownership for every movies from every company they've purchased, and they're not going to put the money in to the movies that are barely remembered today. The Film Foundation, the non-profit organization co-founded by Woody Allen, Francis Ford Coppola, Martin Scorsese and Steven Spielberg, which is dedicated to film preservation, estimates the average cost to do a photochemical restoration of a color feature with sound to between $80,000 to $450,000 dollars, not including the cost of a 2k or 4k digital scan. I'm going to have a link in the show notes on our website at The80sMoviePodcast.com to a November 2018 article from the Science History Institute about the process of restoring films. It's not a long read, but it's a fascinating read. I hope you'll check it out.   So there you have it, the end of the line for Vestron Pictures, and many of the movies they helped to make and distribute, most of which you cannot find today in any form.   Thank you for listening.   We'll talk again next week when Episode 105, on the 1985 teen comedy O.C. and Stiggs, directed by Robert Altman, will be discussed.   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.

It's here. The day and episode you've all been waiting for: HALLOWEEN. Enjoy the culmination of your spooky season with John Carpenter's classic that started it all. This is the first title we've double covered, having done a deep, deep dive into the Halloween series during our inaugural HallowStream in 2020 but dammit this one deserves it! Listen as we unpack what this movie and what John Carpenter in general mean to us and our lives because, let's face it, without this movie none of us may not even be here. Like, figuratively… 00:00 - 37:20ish Intros: We dive into AI art, people that think we sound the same (do we? Really, we wanna know), opinions on candy corn and our favorite Halloween candies, and Spooky Season watchlists.   37:20ish -  Recent watches! Barbarian, Pearl, Hellraiser (1987) & Hellraiser 2 (35mm American Cinematheque), She-Hulk, Falcon and the Winter Soldier (we know, Curtis was catching up), Marianne, Who Invited Them?, Trick ‘r Treat (be prepared for a lot of this this month), Spider-Man 3, Mortal Kombat (2021), Pearl, Men (Austin got to it!), Get Out (Austin's dad had never seen!), X, You're Next, Scary Stories to Tell in the Dark, Jaws (in 3D, not Jaws 3D), The Hateful Eight Extended Edition,    1:16:20ish - 1:27:00ish A nice discussion of how people approach movies and discuss them and the differences we have with each other. A NICE discussion (also Lucas watched Nope again)!   1:27:00ish - 2:21:00ish HALLOWEEN (1978) - SHUDdown and discussion.   2:21:00ish - End Our next movie!

Encore! Film and fashion historian Kimberly Truhler discusses her fascinating career with Jan Price! You can follow Kimberly on Facebook, Twitter, and Instagram at @GlamAmorYou can also find Kimberly on YouTube at GlamAmorTV.com Film and fashion historian Kimberly Truhler has spent more than 25 years researching Hollywood history, ten years curating vintage clothing, and years working in LA's Fashion District. In 2009, she founded GlamAmor.com. She has written hundreds of articles on iconic costume design and its influence on fashion. She has taught the History of Fashion in Film as an Adjunct Professor at Woodbury University, host of multiple screening series for the American Cinematheque, guest speaker for museums and other cultural institutions, and producer of more than 20 events online. Due to her knowledge and experience, Truhler has been a respected expert for organizations such as Turner Classic Movies (TCM), National Film Registry, Christie's auction house, Elle magazine, and the Fashion Institute of Design & Merchandising (FIDM). In 2019, she appeared in all four parts of CNN's docu-series American Style. Truhler published her first book, Film Noir Style: The Killer 1940s, in 2021 and is a contributor to the upcoming Encyclopedia of Film and Television Costume Design. She's currently appearing as an expert in the Follow the Thread series on TCM and hosting the online series History of Fashion in Film 1920s-1980s. Hosted on Acast. See acast.com/privacy for more information.

Hal Ashby's HAROLD AND MAUDE debuted to generally poor reviews, and worse box office.  But in suburban Minneapolis, a humble second-run neighborhood theater called The Westgate found the film an audience...and helped turn it into one of the biggest cult hits of all time.Host Rico Gagliano gets the story from HAROLD AND MAUDE producer Charles Mulvehill — one of the few living members of the film's creative team — and an endearing cast of local characters who, back in 1972, found themselves part of a one-in-a-million phenomenon.To celebrate our new season of the podcast, we're partnering with the American Cinematheque to present a screening of the new 4k restoration of HAROLD & MAUDE on Saturday July 16th at Los Angeles's Los Feliz Theatre. Rico Gagliano and Amy Nicholson of the movie podcast “Unspooled” will attend for an in-person pre-screening discussion about the movie and this season. For more details, check out the American Cinematheque's website here.The second season of the MUBI Podcast titled “Only in Theaters” tells surprising stories of individual cinemas that had huge impacts on film history, and in some cases, history in general.To stream some of the films we've covered on the podcast, check out the collection Featured on the MUBI Podcast. Availability of films varies depending on your country.MUBI is a global streaming service, production company and film distributor. A place to discover and watch beautiful, interesting, incredible films. A new hand-picked film arrives on MUBI, every single day. Cinema from across the world. From iconic directors, to emerging auteurs. All carefully chosen by MUBI's curators.And with MUBI GO, members in select countries can get a hand-picked cinema ticket every single week, to see the best new films in real cinemas. To learn more, visit mubi.com/go

Kim Adelman began her producing career with the indie feature, Just Friends. She then launched the Fox Movie Channel's short film program, where the 19 shorts she produced won 30+ awards and played over 150 film festivals worldwide, including the Sundance Film Festival four years in a row.Kim Adelman currently teaches Low Budget Filmmaking  at UCLA Extension and Cinema Production II at Mount Saint Mary University. In 2014, she was named UCLA Extension's Entertainment Studies Instructor of the Year.  In 2016, she won its Distinguished Instructor Award.In addition to guest lecturing at UC Irvine, Cal State Fullerton, and Cal State Los Angeles, she has also taught filmmaking workshops across the US, Canada, and New Zealand. Most recently she led creative writing workshops for kids at UCLA's Hammer Museum via 826LA and filmmaking for teens at Pasadena's Norton Simon Museum.Over the past two decades, Ms. Adelman has also reported extensively on festivals and short films for Indiewire, co-programmed the American Cinematheque's annual Focus on Female Directors short film screening series for fifteen years, and co-founded FFC: the Female Filmmaking Collective.  She has also been a jury member and/or a panel moderator at numerous international film festivals, including Sundance Next and the Los Angeles Film Festival during its final year.Her short film book, Making it Big in Shorts, is on its third edition and has been published internationally in Spanish and Mandarin.  The three pop culture books she wrote for Penguin Random House are The Girls Guide to Elvis, The Girls Guide to Country, and The Ultimate Guide to Chick Flicks. which was also published in Japanese.She has recorded a five-part educational podcast on independent filmmaking for UCLA Extension and co-hosted the 15-episode movie adaptation podcast Book to Screen, available on iTunes. She has also appeared as cinema expert in the ARTE documentary From Weepies to Chick Flicks, E!'s Hollywood & Sex special, and the DVD extras for Love Me Tender and Ghost.  She was profiled for Women Transforming Media and appeared onKim Adelman was also Director of On Air Creative Production for Style Network until that network shut down. She has worked at multiple cable networks including FX/FXM, E!, G4, PopTV, the Game Show Network, and Cinevault.

New for you - Saturday! Film and fashion historian Kimberly Truhler sits down with Jan Price to discuss her fascinating career!You can follow Kimberly on Facebook, Twitter, and Instagram at @GlamAmorYou can also find Kimberly on YouTube at GlamAmorTV.comFilm and fashion historian Kimberly Truhler has spent more than 25 years researching Hollywood history, ten years curating vintage clothing, and years working in LA's Fashion District. In 2009, she founded GlamAmor.com. She has written hundreds of articles on iconic costume design and its influence on fashion. She has taught the History of Fashion in Film as an Adjunct Professor at Woodbury University, host of multiple screening series for the American Cinematheque, guest speaker for museums and other cultural institutions, and producer of more than 20 events online. Due to her knowledge and experience, Truhler has been a respected expert for organizations such as Turner Classic Movies (TCM), National Film Registry, Christie's auction house, Elle magazine, and the Fashion Institute of Design & Merchandising (FIDM). In 2019, she appeared in all four parts of CNN's docu-series American Style. Truhler published her first book, Film Noir Style: The Killer 1940s, in 2021 and is a contributor to the upcoming Encyclopedia of Film and Television Costume Design. She's currently appearing as an expert in the Follow the Thread series on TCM and hosting the online series History of Fashion in Film 1920s-1980s. See acast.com/privacy for privacy and opt-out information.

THIS VOYAGE, the Treksperts, MARK A. ALTMAN (author, The 50 Year Mission, Nobody Does It Better; writer/producer Pandora, The Librarians, Free Enterprise) and DAREN DOCHTERMAN (vfx supervisor, Star Trek: The Motion Picture - Director's Edition) prove that at the end of Montana Avenue lies the beginning of vengeance as we kick-off our ongoing 40th anniversary tribute to Star Trek II: The Wrath Of Khan beginning with our Q&A with WALTER "CHEKOV" KOENIG and EDDIE EGAN (unit publicist, Star Trek II) at the American Cinematheque's 1982 tribute. Also: a very special sneak preview of Mark's upcoming documentary with producers Roger Lay Jr (Star Trek Blu-Ray's) and Scott Mantz (Enterprise Incidents), 1982: GREATEST GEEK YEAR EVER! COMING SOON ON THE TREKSPERTS: PEEPLES ARE STRANGE: THE UNMADE TREK II, PLANTING THE SPACE SEED and much more as we celebrate a dish best served cold all year long. Learn all that is learnable about Star Trek in Mark A. Altman & Edward Gross' THE FIFTY-YEAR MISSION, available in hardcover, paperback, digital and audio from St. Maritn's Press. And if you're a James Bond fan, don't miss NOBODY DOES IT BETTER, in hardcover, paperback, digital and audio from Forge Books. And don't miss SECRETS OF THE FORCE, the definitive unauthorized, uncensored oral history of STAR WARS, now available in hardcover, digital and audio!! And this summer, it's THEY SHOULDN'T HAVE KILLED HIS DOG, the complete oral history of John Wick, Gun-Fu and The New Age of Action in hardcover and digital. Follow Inglorious Treksperts at @inglorioustrek on Twitter, Facebook and at @inglorioustreksperts on Instagram. And now follow the Treksperts Briefing Room at @trekspertsBR, an entirely separate Twitter & Instagram feed. #StarTrek #TOS #TAS #TNG #DS9 #VOY #ENT #DISCO #PICARD #LLAP #comics #IDW #Marvel #DC #GoldKey #Discovery #DeepSpaceNine #STTMP #StarWars #CaptainPike #StrangeNewWorlds #55YearTour #casting #ST55 #StarTrek55 #TheCage #StrangeNewWorlds #SNW #Voyager #Janeway #Enterprise #Trek #TheNextGeneration #DeepSpaceNine #Prodigy #Voyager #STD #Disco #Picard #StarWars During the pandemic, we are still recording remotely and not in the studio. As a result, the quality of the audio may not be up to our usual high standards. We trust you will nursemaid us through these difficulties. Please stay healthy and safe... and keep on Trekkin' - ingloriously, of course!

The Legends Of S.H.I.E.L.D. Producer of the show Agent Lauren, Agent Michelle, Consultant Chris, and Director SP discuss the Disney+ Hawkeye season one premiere episodes “Never Meet Your Heroes” and “Hide and Seek.” They also discuss the top Marvel news stories of the week including the Disney+ premiere date for Eternals, Scarlet Johansson's secret Marvel project, and WandaVision's Grammy Nomination. The Team debriefs you on the PlayComics episode interviewing the original 90's X-Men animation series creators, the major Hawkeye cast rundown, the glory of the Track Suit Mafia (TSM), the issue with David Aja's credits versus compensation by Marvel/Disney, the unique Kate Bishop training montage, the flashback and seamless integration of the 2012 Avenger's battle with Loki's Chitauri army, the “Grabie-Grab” as the first series trick arrow, how Kate Bishop is moonlighting as a pseudo safety building inspector, the Roger's musical, proper bathroom etiquette, the CW Arrow-like fight scenes, the realistic LARPing portrayal, and SP's Hallmark Holiday movie checklist. Stay tuned after the credits for a few minutes of Legends Of S.H.I.E.L.D. bonus audio.   THIS TIME ON LEGENDS OF S.H.I.E.L.D.:   Hawkeye S1E1 “Never Meet Your Heroes” and S1E2 “Hide and Seek” Weekly Marvel News Disney+ confirms launch of new Marvel movie ‘Eternals' on January 12, 2022 Marvel, Johansson Working on Top Secret Project Unrelated to Black Widow WandaVision's 'Agatha All Along' Conjures Up a Grammy Nomination Chris' PlayComics episode on the original X-Men Animated Series https://playcomics.com/x-men-the-animated-series-with-eric-and-julia-lewald/   HAWKEYE “NEVER MEET YOUR HEROES” and “HIDE AND SEEK” [5:56]   Hawkeye “Never Meet Your Heroes” and “Hide And Seek” premiered on Disney+ on Wednesday November 24th, 2021.   S1E1 “Never Meet Your Heroes”   Directed By: Rhys Thomas https://www.imdb.com/name/nm1658104/?ref_=ttfc_fc_dr1#director 24 directing credits starting in 2010 9 x Saturday Night Live Specials 6 x Comrade Detective 47 x Saturday night Live Episodes (20 as segment director) 3 x Hawkeye   Writer: Jonathan Igla  https://www.imdb.com/name/nm4131127/?ref_=ttfc_fc_wr1 7 writing credits starting in 2015 33 x Mad Men 1 x Masters of Sex 6 x Hawkeye   S1E2 “Hide And Seek”   Directed By: Rhys Thomas https://www.imdb.com/name/nm1658104/?ref_=ttfc_fc_dr1#director 24 directing credits starting in 2010 9 x Saturday Night Live Specials 6 x Comrade Detective 47 x Saturday night Live Episodes (20 as segment director) 3 x Hawkeye   Writer: Elisa Lomnitz Climent https://www.imdb.com/name/nm4019625/?ref_=ttfc_fc_wr1 4 writing credits starting in 2017 11 x Imposters 1 x Sorry for Your Loss 1 x Hawkeye   Showrunner: Jonathan Igla   Hawkeye Main Cast Jeremy Renner ...         Clint Barton / Hawkeye 28 Weeks Later The Hurt Locker Mission: Impossible - Ghost Protocol The Bourne Legacy Mission: Impossible - Rogue Nation Arrival Mayor of Kingstown (TV Series) Hailee Steinfeld ...         Kate Bishop Pitch Perfect 2 Pitch Perfect 3 Spider-Man: Into the Spider-Verse Charlie's Angels (2019) Arcane (TV Series) Dickinson (TV Series) Spider-Man: Into the Spider-Verse 2 (filming) Vera Farmiga ...         Eleanor Bishop The Manchurian Candidate Source Code Bates Motel (TV Series) Godzilla: King of the Monsters Tony Dalton ...         Jack Duquesne Sense8 (TV Series) Better Call Saul (TV Series) Alaqua Cox                         ...         Maya Lopez First IMDB credit … seriously. First credit Fra Fee ...         Kazi Cinderella (2021) Aleks Paunovic ...         Ivan Boxing Stuntman on Battlestar Galactica 5 x Battlestar Galactica (TV Series) 1 episode roles: Flash Gordon: A Modern Space Opera (TV Series) Bionic Woman (TV Series) Stargate: Atlantis (TV Series) Sanctuary (TV Series) Human Target (TV Series) Caprica (TV Series) Smallville (TV Series) - 2 episodes Once Upon a Time (TV Series) Psych (TV Series) - 3 episodes The 100 (TV Series) - 4 episodes Arrow (TV Series) - 2 episodes Riverworld (TV Movie) Mortal Kombat: Legacy (TV Series short) 6 x Continuum (TV Series) Kindergarten Cop 2 War for the Planet of the Apes 9 x Snowpiercer (TV Series) Piotr Adamczyk ...         Tomas Popular Polish actor with 87 credits starting in 1996 Will also be in season 3 of the Apple TV+ hit For All Mankind Linda Cardellini ...         Laura Barton Boy Meets World (TV Series) in 1998/1999 Freaks and Geeks (TV Series) in 1999/2000 Legally Blonde Scooby-Doo 2: Monsters Unleashed Brokeback Mountain 126 x ER (TV Series) 1 x Person of Interest (TV Series) 9 x Mad Men (TV Series) Gravity Falls (TV Series) 5 x Robot Chicken (TV Series short) Ava Russo                         ...         Lila Barton Only acting credit is Lila in Avengers Endgame/Hawkeye Ben Sakamoto ...         Cooper Barton Only acting credits as Cooper in Age Of Ultron/Endgame/Hawkeye Cade Woodward ...         Nathaniel Barton A Quiet Place Avengers: Endgame/Hawkeye Simon Callow …          Armand III Amadeus 1 x Scarecrow and Mrs. King (TV Series) Four Weddings and a Funeral 2 x Doctor Who (TV Series)' 5 x Outlander (TV Series)' 8 x The Witcher (TV Series) Clayton English ...         Grills 1 x Brooklyn Nine-Nine (TV Series) Carlos Navarro ...         Enrique 1 x Prison Break (TV Series) 1 x Charlie's Angels (TV Series) 2011 9 x The Walking Dead (TV Series) Ivan Mbakop ...         Detective Caudle Nothing SP is familiar with Tinashe Kajese ...         Dee The Suicide Squad Adetinpo Thomas ...         Wendy 8 x Black Lightning (TV Series) Robert Walker Branchaud ...         Orville (as Robert Walker-Branchaud) American Horror Story (TV Series) 4 x Stranger Things (TV Series) Deepwater Horizon 2 x The Walking Dead (TV Series) 2 x Black Lightning (TV Series) Adelle Drahos ...         Missy 2 x MacGyver (TV Series) Ashley Ames ...         Eleanor's Assistant Nothing SP is familiar with Monisha Shiva ...         Mother Nothing SP is familiar with Rhys Bhatia ...         Child Nothing SP is familiar with Candy McLellan ...         Samurai Nothing SP is familiar with Jolt the Golden Retriever…         Lucky the Pizza Dog   NEWS [51:23]   UPCOMING MARVEL SLATE OF PROJECTS   Eternals premiered domestically in the theaters on November 5th, 2021. Eternals is scheduled to release on Disney+ on Wednesday January 12th, 2022   Hawkeye is scheduled to premiere on November 24th, 2021. There will be 6 episodes The first release date will have two episodes.    Spider-Man: No Way Home is scheduled to premiere on December 17th, 2021.   Doctor Strange in the Multiverse of Madness (May 6, 2022)   Ms Marvel is supposed to premiere late in 2021 on Disney+ but no date has been announced. Ms. Marvel introduces Kamala Khan--a 16-year-old Pakistani American from Jersey City. An aspiring artist, an avid gamer and a voracious fan-fiction scribe, she is a huge fan of the Avengers—and one in particular, Captain Marvel. But Kamala has always struggled to find her place in the world—that is, until she gets super powers like the heroes she's always looked up to The series was confirmed on Disney+ Day 12 Nov 2021 (Summer 2022) Series synopsis: https://www.cbr.com/ms-marvel-captain-marvel-shadow-synopsis/   Thor: Love and Thunder (July 8, 2022) Moon Knight is supposed to premiere late in 2022 on Disney+ 2022 Confirmed During Disney+ Day 12 Nov 2021 Series Synopsis Released: https://www.cbr.com/moon-knight-marvel-synopsis-multiple-personalities/    Black Panther: Wakanda Forever (Nov. 11, 2022) https://comicbook.com/marvel/amp/news/black-panther-riri-williams-ironheart-mcu-debut-dominique-thorne/   She-Hulk is supposed to premiere late in 2022 on Disney+ It was confirmed the series was coming in 2022 on Disney+ Day 12 Nov 2021.    Secret Invasion is in development for release on Disney+ No date has been announced. Series confirmed during Disney+ Day 12 Nov 21    Ironheart is in development for release on Disney+ No date has been announced. Series confirmed on Disney+ Day 12 Nov 21   Armor Wars is in development for release on Disney+ but no date has been announced.    Echo is in development for release on Disney+ Confirmed on Disney+ Day 12 Nov 21 but no release/premiere date given    Agatha: House of Harkness Announced/Confirmed on Disney+ Day 12 Nov 2021   An untitled Wakanda series is in development for release on Disney+ but no date has been announced.    X-Men ‘97 (2023) Written by Executive Producer Beau DeMayo. Announced Disney+ Day (12 Nov 2021)   The Marvels (Feb. 17, 2023)   Marvel Zombies Animated series announced on Disney+ Day 12 Nov 21 No date given   Also, we know there will be a Loki season two at some point.   What If…? Season 2 Confirmed during Disney+ Day 12 Nov 21 No premiere date indicated   Ant-Man and the Wasp: Quantumania (July 28, 2023)   Guardians of the Galaxy Vol. 3 (May 5th, 2023) Fantastic Four  (???)   I Am Groot is in development for release on Disney+ No date has been announced. Previous mentioned as a holiday special Series confirmed during Disney+ Day 12 Nov 21 as a series of shorts watching Groot grow up   Guardians Of The Galaxy Holiday Special Confirmed during Disney+ Day 12 Nov 21 Different from I Am Groot   Spider-Man: Freshman Year Announced during Disney+ Day 12 Nov 2021 No premiere date given   Untitled (February 16th, 2024)   Untitled (May 3rd, 2024)   Untitled (July 26th, 2024)   Untitled (November 8th, 2024)   List of MCU films in production without premiere dates Fantastic Four Deadpool 3 Blade Avengers-Level Team up to end the phase (not confirmed in development) Could be linked to Russo Brothers story from last week Captain America Sequel Possible X-Men   Projects that have NOT been announced yet Young Avengers   MCU – MARVEL STUDIOS   Marvel, Johansson Working on Top Secret Project Unrelated to Black Widow https://www.cbr.com/marvel-scarlett-johansson-new-project-black-widow/ Marvel Studios and Scarlett Johansson are reuniting for a mystery project that, supposedly, isn't connected to Johansson's Marvel Cinematic Universe character, Natasha Romanoff, aka. Black Widow.   This comes straight from Marvel Studios President/Chief Creative Officer Kevin Feige, one of many who paid tribute to Johansson at a ceremony honoring her as the 35th recipient of the annual American Cinematheque Award. “We are already working with Scarlett on another non-Black Widow-related top-secret Marvel Studios project with her as a producer,” said Feige (per The Hollywood Reporter). He went on to call Johansson "one of the most talented, versatile and beloved actors of our time," later adding, "Working with you Scarlett has truly been one of the most memorable and rewarding collaborations of my career.”   Feige's announcement comes on the heels of Johansson settling her Black Widow lawsuit with Disney at the end of September. The Oscar-nominee took legal action against the House of Mouse in July, alleging that Disney breached her contract by giving the film a day-and-date release in theaters and on Disney+ Premier Access without allowing her to renegotiate her deal. This led to a public war of words between Disney and Johansson's legal reps, with the former calling the latter's lawsuit "callous [in its] disregard for the horrific and prolonged global effects of the COVID-19 pandemic."   “It was a very surreal time because, of course, the film had come out and was hugely successful and that was a big celebration. I had a baby, and that was obviously a life-changing, amazing, celebratory thing,” said Johansson, discussing the Black Widow lawsuit on the red carpet for the American Cinematheque ceremony. “In a way, that sort of buoyed me through the very uncertain, stressful time. I feel mostly very fortunate that nobody will have to go through what I went through and that it's made, I think, a positive impact in the industry and hopefully for artists and creatives' lives and livelihood.”   Black Widow, which took place between the events of Captain America: Civil War (2016) and Avengers: Infinity War (2018), served as a coda to Natasha's story in the MCU after the character sacrificed her life to help save the day in Avengers: Endgame (2019). The film also ended with a post-credits scene laying the groundwork for Natasha's fellow Red Room trainee and sister-figure, Yelena Belova (Florence Pugh), to return in the Hawkeye series on Disney+.   Johansson's mystery Marvel Studios venture is one of two projects she's working on with Disney at the moment, along with a movie based on the company's Tower of Terror theme park attraction. The latter, which Johansson is producing with an eye on starring in, has yet to receive a release date.   Marvel's Hawkeye: Hailee Steinfeld and Kevin Feige's Young Avengers Reaction Goes Viral https://comicbook.com/tv-shows/news/marvel-hawkeye-hailee-steinfeld-kevin-feige-young-avengers-reaction-meme/ https://twitter.com/Hawkmaestro21/status/1460711493163532296 Kevin Feige and Hailee Steinfeld are keeping the Young Avengers arrow in the quiver. In the Marvel Studios series premiering November 24 on Disney+, Steinfeld enters the Marvel Cinematic Universe as expert archer and Hawkeye fangirl Kate Bishop, the self-taught protege of eagle-eyed ex-Avenger Clint Barton (Jeremy Renner). During a press conference with the cast of Hawkeye, a cautious Steinfeld looked to the Marvel Studios president and producer before answering a question about Kate Bishop's future as a member of the Young Avengers, a team of young adult superheroes formed after the Avengers disassemble.    "I mean, listen, this feels so crazy to me right now just sitting here with this group of people. I'm so grateful to be a part of this show in this universe, and it's only the beginning," Steinfeld said when asked about Young Avengers. "This shows not even out, so I'm looking forward to that day."   aking on the mantle of Hawkeye, Bishop becomes a member and leader of the Young Avengers and the West Coast Avengers. Speaking exclusively to ComicBook's Phase Zero podcast, the Spider-Man: Into the Spider-Verse and Apple TV+'s Dickinson star spoke out on her Marvel future after teaming with Renner's Barton in the six-episode Hawkeye.    "It's always exciting, the thought of any character you play, where it could go. And especially with something like this," Steinfeld said. "You've seen the first two episodes, and there's a whole lot more that happens in the four that are to come. That's where my head is at."    Elizabeth Olsen, whose Wanda Maximoff births two future Young Avengers in Disney+'s WandaVision, said over the summer she's not aware of plans for twins Tommy (Jett Kline) and Billy Maximoff (Julian Hilliard) to join the roster as Speed and Wiccan. Phase Four of the MCU has already added prospective members Eli Bradley (The Falcon and the Winter Soldier's Elijah Richardson) and Kid Loki (Loki's Jack Veal), with more on the way: America Chavez (Doctor Strange 2's Xochitl Gomez) and Cassie Lang (Ant-Man 3's Kathryn Newton).    "As a comic fan, anything in the comics is always our inspiration and our guide point. How those things come together and in what shape, it's always subverting expectations, it's always half the fun as meeting them," Feige previously told Entertainment Weekly when asked if series like WandaVision and Hawkeye are building towards Young Avengers. "But, yes, you can certainly see that Phase Four is introducing all sorts of new types of characters with the potential being endless. Now, all of us at Marvel Studios feel like Nick Fury at the end of Iron Man 1, as new actors and new performers come in and we tell them they're part of a bigger universe. They just now have to do the work required to build their audience."   Feige added: "I'm happy to say everybody that's here, certainly where I'm sitting now, is doing amazing work and [I] can't wait to show them the world."   See reactions to Feige and Steinfeld's meme-able exchange below. The two-episode premiere of Marvel's Hawkeye is November 24 on Disney+.    Disney+ confirms launch of new Marvel movie ‘Eternals' on January 12, 2022 https://streamingguider.com/eternals-disney-plus-movie-2021/ Marvel Studios' new movie Eternals (2021) was released in theaters earlier this month, but has already received a release date on Disney+. The streaming service has informed Streaming Guider's editors that the superhero movie will be available worldwide on Disney's video on demand platform starting January 12, 2022.   ➝ This announcement first appeared in Dutch on Streamwijzer.nl, the largest website about streaming in the Netherlands ✅   Superhero movie ‘Eternals' (film, 2021) will launch at Disney+ on January 12, 2022 The very first new title on Disney+ in January 2022 has been announced and it's a big one: Eternals! The Marvel film is making quite a splash with the first openly gay character and the first sex scene. In addition, the leads are played by an amazing cast including Angelina Jolie and Richard Madden.   Disney+ has confirmed to Streaming Guider's editors that there is already a date in the calendar for the release of the superhero film. Starting Wednesday, January 12, 2022, Eternals will be available in all countries where the streaming service operates. That's approximately 70 days after the theatrical release, a comparable gap as for the launch of Shang-Chi and the Legend of the Ten Rings (2021).   The choice to release the movie on a Wednesday is remarkable, as movies usually appear on Disney+ on Fridays and (episodes of) series on Wednesdays. The video on demand platform seems to be experimenting to determine the best weekday for new releases. For example, Black Widow previously appeared on a Wednesday (as of October 6 for all subscribers) and the streaming service released the premiere episodes of the hit series Dopesick on Disney+ Day (Friday, November 12) in several countries.   Mixed reviews Viewers and critics seemed to disagree about the quality of Eternals after its theatrical release. On IMDb, the film scored a 6.8 out of (so far) 106,000 votes. That's fine for an average film, but not very high for a Marvel film. Yet, for example, Captain Marvel (2019 | 6.8), Thor: The Dark World (2013 | 6.8), Black Widow (2021 | 6.7) and The Incredible Hulk (2008 | 6.6) were given equal or lower marks.   At Rotten Tomatoes, Eternals does score the lowest of all Marvel films with 48% out of 359 reviews on the Tomatometer. The audience disagree, as the Audience Score actually constitutes an excellent 80% from over 5,000 votes. So take a quick look at the film as soon as it shows up on Disney+ and let us know what you think about it.   Plot, information and trailer of ‘Eternals' op Disney+ Marvel Studios' Eternals follows a group of heroes from beyond the stars who have been protecting Earth since the dawn of man. When monstrous creatures called the Deviants return, while long thought lost mysteriously, the Eternals are forced to reunite to defend humanity once again.   DISNEY+   Hawkeye: Hailee Steinfeld Compares Kate Bishop to Her Into the Spider-Verse Role https://www.cbr.com/hawkeye-hailee-steinfeld-kate-bishop-compares-gwen-stacy Hawkeye actor Hailee Steinfeld talks about playing both Kate Bishop and Gwen Stacy in Spider-Man: Into the Spider-Verse   Actor Hailee Steinfeld has now addressed having played both Kate Bishop in Disney+'s Hawkeye and Gwen Stacy in Sony's animated Spider-Man: Into the Spider-Verse film.   In a press conference attended by CBR, Steinfeld was asked to compare her role as Gwen to her time as Bishop. "It's incredibly cool," Steinfeld said. "I feel so honored to be a part of both projects. They're characters that have similarities, but they're very different. Of course, one is animation, and one is not, and two completely different worlds. But I always love that -- I do find the characters that I have played in the past do have this sort of consistency in being these young women who are strong-minded, have a point of view, have an idea of who they are in this world and they really stop at nothing to get what they want to achieve. I think that both Gwen Stacy and Kate Bishop are proof that if you set your mind to something, you can really achieve great things."   Created by Allan Heinberg and Jim Cheung, Kate Bishop made her debut in 2005's Young Avengers #1, taking up the mantle of Hawkeye following Clint Barton's death. Rumors of Steinfeld's casting as Kate in Hawkeye began in 2020, with her role officially confirmed at the end of that year. Hawkeye will see her teaming up with Clint to take on the enemies he made while using the name Ronin.   An alternate version of Peter Parker's classic love interest of the same name, Gwen Stacy/Spider-Woman was created by Jason Latour and Robbi Rodriguez. First appearing in 2014's Edge of Spider-Verse #2, Gwen hails from a reality where she was bitten by a radioactive spider instead of Peter. The Into the Spider-Verse version of the character found herself pulled into a different reality, though by the end of the movie she'd returned to her home world.   Directed by Bob Persichetti, Peter Ramsey and Rodney Rothman, Into the Spider-Verse released in 2018. The film saw Miles Morales team up with several characters from different universes with similar powers to himself so to save New York from Kingpin. The movie did well at the box office, grossing more than $375 million worldwide against a budget of approximately $90 million. Into the Spider-Verse received praise from critics, earning a 97 percent on Rotten Tomatoes and winning the Academy Award for Best Animated Feature.   Created by Jonathan Igla, Hawkeye is slated to release Nov. 24 on Disney+. At this time, it's not clear when Steinfeld will next appear in the MCU after Hawkeye, though she is slated to appear in multiple projects. Steinfeld will reprise her role as Gwen when the first sequel to Into the Spider-Verse releases on Oct. 7, 2022. While the official title hasn't been confirmed at this time, there's some evidence the movie will be called Spider-Man: Across the Spider-Verse.   Hawkeye's Story Arc Leads Directly Into a Future Disney+ Marvel Series https://www.cbr.com/hawkeye-leads-directly-into-echo-series Marvel boss Kevin Feige and Hawkeye director Rhys Thomas explain how the Disney+ series will lead directly into Echo, starring Alaqua Cox.   Marvel's upcoming Hawkeye Disney+ series will lead directly into the recently announced Echo series starring Alaqua Cox.   During a press conference attended by CBR, Marvel Studios president Kevin Feige and Hawkeye director Rhys Thomas were asked about Cox's Maya Lopez/Echo and what can be expected for her in the forthcoming Disney+ series. According to Feige, Cox "came in as a cold audition and sort of read a number of different times."   "She's amazing," Feige continued. "I can't wait for people who've seen the first two episodes have seen a very brief moment. It will be fun to see the audience discover Maya over the course of this series and then in her own series later. As announced on Disney+ Day last week, the Echo series will be -- we see Maya Lopez go from the end of this series into that series will be the next direct link."   Maya Lopez/Echo, a deaf Native American superhero, will be introduced in Hawkeye, which wrapped filming in April and will premiere on the streaming service in November, though the nature of her role in the show currently remains unknown. It was reported in March that the Echo spinoff series was in development, with Etan and Emily Cohen writing and producing the series. While it had been reported on for some time, Echo was officially confirmed by Marvel Studios and Disney during Disney+ Day with the release of the series' official logo.   Thomas, replying to Feige, said that Cox "has amazing determination." Regarding her audition process, Thomas went on to say, "She never performed before, but seemed completely unfazed when we came back. We really sort of put her through the wringer. But she never once botched and has kind of walked into this universe like she should've always been there."   In a recent promo for the upcoming Hawkeye series, audiences were introduced to the MCU's latest villain, Fra Fee's The Clown. Cox's Maya Lopez/Echo was seen alongside him, with both characters seemingly holding Clint Barton hostage before he is rescued by Haylee Steinfeld's Kate Bishop. While Maya is typically a hero in the comics, it was unclear in the trailer why she would be working with The Clown, though it could have something to do with her adopted father, Wilson Fisk/Kingpin, in the comics.   Created by David Mack and Joe Quesada, Maya Lopez/Echo first appeared in Daredevil #9 in 1999 and is one of the few Native American and deaf characters in comics overall. Similar to the Avengers villain Taskmaster, Echo's powers include photographic reflexes, giving her the ability to perfectly mimic the movements of other people. Echo was first introduced to comics as a supporting character for Daredevil and it's speculated that her involvement in Hawkeye could be a way for Matthew Murdock/Daredevil to officially enter the MCU. It has also been reported that both Jeremy Renner and Hailee Steinfeld will reprise their Hawkeye roles in Echo as well.   WandaVision's 'Agatha All Along' Conjures Up a Grammy Nomination https://www.cbr.com/marvel-wandavision-agatha-all-along-grammy-nomination/ The song "Agatha All Along" from Marvel Studios' debut Disney+ original series WandaVision is up for an award at the 64th GRAMMY Awards in January.   Per the official list of nominees for the 2022 GRAMMYs, "Agatha All Along" -- written by Kristen Anderson-Lopez and Robert Lopez -- has been nominated for Best Song Written For Visual Media. The fan-favorite track was brought to life by the Lopezes, featuring Kathryn Hahn, Eric Bradley, Greg Whipple, Jasper Randall and Gerald White.   Going up against "Agatha All Along" in the category of Best Song Written For Visual Media are "All Eyes On Me" by Bo Burnham (from Inside), "All I Know So Far" by P!nk (from P!NK: All I Know So Far), "Fight For You" by H.E.R. (from Judas and the Black Messiah), "Here I Am (Singing My Way Home)" by Jennifer Hudson (from Respect) and "Speak Now" by Leslie Odom Jr. (from One Night in Miami...).   WandaVision premiered on Disney+ earlier this year on Jan. 15 to kick off Phase Four of the Marvel Cinematic Universe. The series' seventh episode, "Breaking the Fourth Wall" -- which aired on Feb. 19 -- revealed that Wanda Maximoff (Elizabeth Olsen) and Vision's (Paul Bettany) nosy neighbor, Agnes (Kathryn Hahn), was actually the classic Marvel Comics character Agatha Harkness, and that she was the one who had been disrupting Wanda and Vision's seemingly peaceful life in Westview.   This revelation sets up the musical number "Agatha All Along," performed by Hahn as Agatha. On Feb. 24 -- a few days after "Breaking the Fourth Wall" initially dropped -- "Agatha All Along" was added to music streaming platforms like Spotify, Apple Music and Pandora. The song had nearly broken 1.8 million plays on Spotify by the time WandaVision's finale (aptly titled "The Series Finale") hit Disney+ on March 5.   WandaVision leads directly into the upcoming Marvel Studios film Doctor Strange in the Multiverse of Madness, which hits theaters on May 6, 2022. The film will see Olsen reprise her role as the newly-christened Scarlet Witch. Meanwhile, Hahn is set to return as Agatha Harkness in Agatha: House of Harkness, a spinoff series Marvel Studios is producing for Disney+. Hahn's deal with Marvel also reportedly calls for additional appearances across both film and television.   The 64th GRAMMY Awards will air on CBS and stream on Paramount+ on Monday, Jan. 31 at 8 p.m. ET.   ‘Hawkeye' EP Trinh Tran on Casting Hailee Steinfeld and the Influence of ‘Better Call Saul' https://www.hollywoodreporter.com/tv/tv-features/hawkeye-movie-tv-show-marvel-disney-1235050780/ The Marvel executive reflects on why Jeremy Renner's project was moved from film to TV: "The big question was, 'How are we going to fit all of this into a two-hour timeframe?'"   Hawkeye and Avengers: Endgame executive producer Trinh Tran never doubted whether Clint Barton/Hawkeye's Endgame storyline warranted further exploration. Instead, it was a question of which medium was best suited to tell the street-level story of Jeremy Renner's Avenger and his quest to get home in time for Christmas. Tran, along with her fellow Marvel Studios producers, quickly realized that the Hawkeye project would benefit creatively if it transitioned from the feature film side of the studio to the newly-established Disney+ side.   “We decided to move Hawkeye from the feature side over to the Disney+ side for [creative flexibility],” Tran tells The Hollywood Reporter. “The big question was, ‘How are we going to fit all of this into a two-hour timeframe? We have an Avenger whose backstory we haven't quite had time to explore yet . We also have to introduce a new character [Hailee Steinfeld's Kate Bishop], as well as allow enough time for them to bond and create that special dynamic that everybody finds so appealing in the comics.' So, in moving it over, it allowed us six hours, three times as much time, which really gave us the creative flexibility we needed to tell the story.”   In September 2019, when Hailee Steinfeld was reported to be playing Barton's protégé Kate Bishop on Hawkeye, fans rejoiced unanimously until Steinfeld herself cast doubt on the idea. This led to some speculation that the actor's existing contract with Apple TV+'s Dickinson may have caused a snag in the proceeding. However, Tran was always confident that Steinfeld would be involved as Bishop.   “When [Hailee] came in to meet, we knew right off the bat that she was the person we had been looking for all these years,” Tran shares. “It was just a matter of we couldn't quite talk about her involvement all this time. So the speculation in terms of whether she was in or not was just us trying to figure out how we can carry out the series during this time and get it delivered in time for this holiday season.”   Prior to Black Widow‘s release, Marvel Studios President Kevin Feige referenced Breaking Bad prequel/sequel, Better Call Saul, as an influence on Widow‘s prequel storytelling. Then Marvel Studios hired former Better Call Saul writer Marion Dayre to lead the writers' room for Echo, which stars Alaqua Cox in the eponymous role. (Hawkeye will first introduce the character.) Furthermore, Better Call Saul‘s Tony Dalton also plays the enigmatic role of Jack Duquesne on Hawkeye, and Tran confirms that Better Call Saul was a key factor in Dalton's casting.   “I absolutely love Tony Dalton from Better Call Saul!” Tran says. “When we were talking about who would be great as Jack Duquesne, Tony obviously came to mind because he is incredible in that series. I can't say much about his character in [Hawkeye], but as you can see in the earlier episodes, there's a quality in Jack that will hopefully intrigue people into figuring out what's happening.”   In a recent conversation with THR, Tran also explains why the decision was made to make Hawkeye a bit more lighthearted than previous MCU series.   Since WandaVision, The Falcon and the Winter Soldier and Loki each explored some heavy subject matters and themes at times, was Hawkeye always designed to be something a bit lighter for the holidays? Was Hawkeye meant to be a response to those shows?   Well, as we were brainstorming and talking about the story a couple of years ago, we were trying to figure out how we can set this series apart from Wandavision, The Falcon and the Winter Soldier and Loki. And one way was to set it around the holiday times. Out of all of the characters, it made sense for Clint Barton's story to be told around this time of year because he's a family guy. He's one of the few Avengers with kids, and after the fallout of what happened in Endgame — where he lost his kids for five years, became Ronin and got them back — this is the first Christmas that he's going to be spending with his family. And the big question of the series is if he's going to be able to make it home in time in order to do so. So there's that big weight that he's trying to figure out as he's stuck elsewhere. He's trying to deal with something that has put him on this mission and he has to figure out how to get out of it. And in terms of the lightheartedness, we wanted to show a different side of Clint that we haven't seen before, in comparison to all of the Avengers movies that he's in. And I find it so much more interesting that there is a version of Clint that is a little bit more humorous from the Matt Fraction [comic book] run. So we wanted to pull a little bit of that into the series, and we thought that Kate Bishop, out of everybody, was the perfect candidate in order to do so.   Everyone celebrated when Hailee Steinfeld's casting was reported, but then there was a period of uncertainty as to whether it would actually happen. Were you always confident that things would work out?   Yes, we love Hailee. When we were talking about who would be the perfect candidate for Kate Bishop, names were thrown into the hat, and we all loved Hailee. We think she's tremendously talented. When she came in to meet, we knew right off the bat that she was the person we had been looking for all these years, once we had talked about who this person is and what she can bring to the table. Hailee did an incredible job, and we were all very happy with the onscreen Kate Bishop that she delivered. It was just a matter of we couldn't quite talk about her involvement all this time. So the speculation in terms of whether she was in or not was just us trying to figure out how we can carry out the series during this time and get it delivered in time for this holiday season.   Kevin Feige has referenced a certain show as a touchstone for Black Widow‘s prequel storytelling. You also hired one of its writers, Marion Dayre, as the lead writer of Echo. And now, with Hawkeye‘s casting of Tony Dalton, is it safe to say that Marvel Studios is rather fond of Better Call Saul?   I absolutely love Tony Dalton from Better Call Saul! When we were talking about who would be great as Jack Duquesne, Tony obviously came to mind because he is incredible in that series. He brings a different tone to this particular character that people haven't quite seen yet. I can't say much about his character in the series, but as you can see in the earlier episodes, there's a quality in Jack that will hopefully intrigue people into figuring out what's happening.   What I love about Marvel Studios' TV shows is that they're able to devote more time to character development than a two-hour movie can. From your vantage point, are the TV shows already making your feature directors' lives easier since they don't have to squeeze six episodes of character work into their two-hour runtimes?   It allows us the creative flexibility to explore the characters a lot more because we have the time and space to do so. We decided to move Hawkeye from the feature side over to the Disney+ side for that very reason. The big question was, “How are we going to fit all of this into a two-hour timeframe? We have an Avenger whose backstory we haven't quite had time to explore yet . We also have to introduce a new character, as well as allow enough time for them to bond and create that special dynamic that everybody finds so appealing in the comics.” So, in moving it over, it allowed us six hours, three times as much time, which really gave us the creative flexibility we needed to tell the story. But challenges come with it as well. We have a process at Marvel and we try to maintain that same process both on the feature side and the TV series side. We treat it as one process that works well for us. But things happen faster on the TV end. We have the same amount of time that we normally do on the feature end, but we have three times as much content that we have to deliver in a shorter time span.   So I've only got a few seconds left, but I have to say that I'm fascinated by the Marvel Studios Parliament, which counts you as a member [along with Stephen Broussard, Eric Carroll, Nate Moore and Brad Winderbaum]. Do you each have a special blazer with a crest on it? Is there a secret handshake? How do you signify your membership?   (Laughs.) That's great, actually. I'm going to go back to my parliament colleagues and go, “We should definitely come up with a handshake of some sort.” If there is a blazer, I didn't get one. (Laughs.) Can you call Kevin Feige and ask where my blazer is?   I'll make some calls!   (Laughs.) But that is actually a great idea. I'm going to go back to the other parliament members and say that we should come up with a secret code or something. Hawkeye: Marvel Fans Boycott Series in Support of Poorly Compensated Artist https://epicstream.com/article/hawkeye-marvel-fans-boycott-series-in-support-of-poorly-compensated-artist   OUTRO [55:51]   We would love to hear back from you! Call the voicemail line at 1-844-THE-BUS1 or 844-843-2871.                    Join Legends Of S.H.I.E.L.D. next time as the hosts discuss the third episode of Hawkeye. You can listen in live when we record Thursday Evenings at 8:00 PM Eastern time at Geeks.live. Contact Info: Please see http://www.legendsofshield.com for all of our contact information or call our voicemail line at 1-844-THE-BUS1 or 844-843-2871   Legends Of S.H.I.E.L.D. Is a Proud Member Of The GonnaGeek Network (gonnageek.com).   This podcast was recorded on Sunday November 28th, 2021.   Standby for your S.H.I.E.L.D. debriefing ---   Audio and Video Production by Stargate Pioneer of GonnaGeek.com.

In this very special Bonus Episode, Elric flies solo and talks to some folks behind the new film COMING HOME IN THE DARK. One of the best reviewed & hardest hitting films of the year is now in theaters and VOD and happens to be directed by one of Elric's oldest friends James Ashcroft. The two discuss the film (spoiler-free mostly) and touch on other impactful New Zealand films and James discusses a few key films that influenced his dark vision. In the second part of the episode Elric hosted the live post-screening Q & A with the star of the film, actor Daniel Gillies (The originals). This conversation is all spoilers so watch the film before listening.  Thanks to the American Cinematheque for recording this conversation. https://darkskyfilms.com/film/coming-home-in-the-dark/

Movie theaters are starting to reopen, and moviegoers are starting to return. All eight of the Laemmle’s theaters are now reopened, its Glendale location the last to do so a couple weeks ago. Tickets are now on sale for the first time in a year at American Cinematheque theaters, which announced programs at all its theaters, including the Rialto in South Pasadena.   Last weekend, “A Quiet Place: Part II” opened with very strong box office grosses. And one of the locations that sold a lot of tickets for the sequel was the Alamo Drafthouse in downtown Los Angeles. The Texas-based boutique chain filed for bankruptcy reorganization in early March. Unlike the Arclight and Pacfic theaters, Alamo was able to come back quickly with many of its theaters reopening in May. KPCC’s John Horn called up Tim League, Alamo’s founder and executive chairman, to talk about his circuit’s return, the future of moviegoing in a streaming era, and whether or not Alamo might be a buyer of the closed Cinerama Dome in Hollywood.  With contributions from John Horn  Guest:  Tim League, founder and executive chairman of the Alamo Drafthouse Cinema

Featuring Filmmaker Lee Isaac Chung and producer Christina Oh, moderated by Jim Hemphill. Hosted By AC Archive Coordinator Oriana Nudo and AC Creative Director/Programmer Grant  Moninger.

Featuring director Maite Alberdi and producer Marcela Santibáñez, moderated by Pete Hammond. Hosted by AC Creative Director Grant Moninger and AC Assistant Programmer John Hagleston.

Featuring five Q&As: ANOTHER ROUND with filmmaker Thomas Vinterberg and actor Mads Mikkelsen, moderated by Rian Johnson.  BETTER DAYS with filmmaker Derek Tsang, moderated by Jim Hemphill. COLLECTIVE with filmmaker Alexander Nanau, moderated by Ella Taylor. THE MAN WHO SOLD HIS SKIN with filmmaker Kaouther Ben Hania, moderated by Todd McCarthy QUO VADIS, AIDA? with filmmaker Jasmila Žbanić, moderated by Katie Walsh. Hosted by AC Creative Director Grant Moninger, AC Programmer Chris LeMaire and Print Traffic Coordinator Nick Vance.

Featuring Aaron Sorkin Tribute event with Aaron Sorkin in conversation with Rob Lowe, plus a Q&A with editor Alan Baumgarten, moderated by fellow editor Kevin Tent. Hosted by AC Volunteer and Intern Manager Nancy Winters and AC Creative Director/Programmer Grant Moninger.

Featuring director Chloé Zhao and producers Peter Spears, Mollye Asher & Dan Janvey, moderated by Kumail Nanjiani. Hosted by AC AV Content Coordinator Zoe Zelkind and Creative Director/Programmer Grant Moninger.

Featuring filmmaker Thomas Vinterberg and actor Mads Mikkelsen, moderated by Rian Johnson. Hosted by AC Lead Projectionist Benjamin Tucker and AC Creative Director/Programmer Grant Moninger.

Featuring director Peter Docter, moderated by Jacqueline Coley. Hosted by AC Egyptian Theatre Manager & Video Editor and Technician Jim Branscome and AC Creative Director/Programmer Grant Moninger.

Featuring star Andra Day, moderated by Alex Cohen. Hosted by AC Marketing & Communications Consultant Anna Ogunkunle and AC Creative Director/Programmer Grant Moninger.

Featuring actor Leslie Odom, Jr., moderated by Jenelle Riley. Hosted by AC Designer Andrea Macias-Jimenez and AC Creative Director/Programmer Grant Moninger.

Featuring star Carey Mulligan, filmmaker Emerald Fennell, editor Frédéric Thoraval and producer Josey McNamara, moderated by Jacqueline Coley. Hosted by AC Audience and Membership Experience Coordinator Silvia Schablowski and AC Creative Director Grant Moninger.  

Featuring Amanda Seyfried, moderated by Pete Hammond and cinematographer Erik Messerschmidt, production designer Donald Graham Burt and costume designer Trish Summerville, moderated by Jessica Radloff. Hosted by Aero Theatre GM Ryan Marker and AC Creative Director Grant Moninger.

Career Q&A with Malcolm McDowell, starring on Amazon's Mozart in the Jungle, on May 10, 2017. Moderated by Jenelle Riley, Variety. Malcolm McDowell has created a gallery of iconic characters since catapulting to the screen as Mick Travis, the rebellious upperclassman in Lindsay Anderson’s prize-winning sensation, If... His place in movie history was subsequently secured when Stanley Kubrick found the actor he was searching for to play the gleefully amoral Alex in A Clockwork Orange; when McDowell himself conceived the idea for Mick Travis’ further adventures in Anderson’s Candide-like masterpiece, O Lucky Man!; and when he wooed Mary Steenburgen and defeated Jack the Ripper as the romantically inquisitive H.G. Wells in Time After Time. For his motion picture work, the American Cinematheque honored him with a retrospective in June 2001, highlighted by showings of his electrifying performances in two major works. The first is Paul McGuigan’s Gangster No. 1, in which McDowell and Paul Bettany portray the consumed, driven title character and which affords McDowell the chance to create a character both on screen and through nuanced voice-over. The second is Russian director Karen Shakhnazarov’s acclaimed and rarely seen Assassin of the Tsar, which Vincent Canby called “a remarkable mystical and psychological exploration of the murder of the Romanov family.” McDowell’s distinctive motion picture characterizations include: Richard Lester’s Royal Flash, Paul Schrader’s Cat People, Rachel Talalay’s Tank Girl, Joseph Losey’s Figures in a Landscape, Bryan Forbes’ The Raging Moon and the Chaplinesque studio boss in Blake Edwards’ Sunset. His film credits are further highlighted by his compellingly sinister Caligula; the brilliant literary editor Maxwell Perkins in Martin Ritt’s Cross Creek; his cameo in Robert Altman’s The Player; and his final incarnation of Mick Travis in Britannia Hospital, the third film in Anderson’s trilogy marking the disintegration of British culture. McDowell’s film work also includes Bobby Jones: Stroke of Genius, In Good Company, I Spy, Robert Altman’s The Company, Robert Downey Sr.’s Hugo Pool with Sean Penn, Robert Downey Jr. and Cathy Moriarty; Just Visiting, Mr. Magoo, Hugh Hudson’s My Life So Far, BlueThunder, Neil Marshall’s Doomsday in 2007, Rob Zombie’s Halloween I & II, and the voice of villain Dr. Calico in Disney’s 2008 boxoffice hit, Bolt. In late 2011, McDowell was seen in the Academy Award-winning silent film sensation, The Artist. In addition to recurring appearances on Heroes, CSI: Miami, and The Mentalist, McDowell starred in TNT’s Franklin & Bash as Stanton Infeld. The series lasted for four seasons.

Featuring filmmaker filmmaker Shaka King and co-writers Kenny & Keith Lucas and Will Berson, moderated by Bakari Sellers. Hosted by American Cinematheque Creative Director Grant Moninger and Film Programmer Chris Lemaire.

Featuring filmmaker Ramin Bahrani, moderated by James Schamus Hosted by American Cinematheque Creative Director Grant Moninger and Film Programmer Chris Lemaire.          

DESCRIPTION: Featuring composer Terence Blanchard moderated by John Burlingame. Hosted by AC Creative Director Grant Moninger and Digital Content Manager Andrew Ameter.

Featuring filmmakers Pippa Ehrlich and James Reed moderated by Academy Award winners Chai Vasarhelyi and Jimmy Chin. Hosted by AC Creative Director Grant Moninger and Digital and Social Media Coordinator Zoe Davanzo.

Featuring  Sacha Baron Cohen in conversation with Monty Python's Eric Idle plus Sacha Baron Cohen and Maria Bakalova with journalist Alex Cohen.  Hosted by American Cinematheque Creative Director Grant Moninger and Film Programmer Chris Lemaire.

Featuring Tomm Moore and Ross Stewart in conversation with Guillermo Del Toro Hosted by the AC Creative Director Grant Moninger & Deputy Director Gwen Deglise.          

Risk: the tug-of-war between innovation and the looming prospect of failure that is behind the scenes of every business and industry. And few industries see greater tension between innovation and failure than that of motion pictures. So, how do we innovate and transform a risk-averse industry, especially one that shapes our culture and how we see ourselves? In this episode, Gautam Mukunda is joined by the Founder and CEO of the Black List, Franklin Leonard, to discover what can be learned from his experience taking big risks in the film industry, which can lead to losses but also to monumental pay-offs. “You are always performing your way to freedom when the resources necessary to do what you do are so considerable.” — Franklin Leonard Follow @GMukunda on Twitter   Books Referenced: The Fire Next Time, by James Baldwin Frederick Douglass: Prophet of Freedom, by David W. Blight   Guest Info: Franklin Leonard is a film and television producer, cultural commentator, and entrepreneur. He is the founder and CEO of the Black List, the company that celebrates and supports great screenwriting and the writers who do it via film production, its annual survey of best unproduced screenplays, online marketplace, and screenwriter labs. More than 400 scripts from the annual Black List survey have been produced as feature films earning 250 Academy Award nominations and 50 wins including four of the last thirteen Best Pictures and eleven of the last twenty-four screenwriting Oscars. Franklin has worked in feature film development at Universal Pictures and the production companies of Will Smith, Sydney Pollack and Anthony Minghella, and Leonardo DiCaprio. He has been a juror at the Sundance, Toronto, Guanajuato, and Mumbai Film Festivals and one of Hollywood Reporter’s 35 Under 35, Black Enterprise magazine’s “40 Emerging Leaders for Our Future,” and Fast Company’s “100 Most Creative People in Business.” He was the recipient of the  2019 Writers Guild of America, East's Evelyn Burkey award for elevating the honor and dignity of screenwriters. He is a contributing editor at Vanity Fair, a Board member of American Cinematheque, and a member of the British Academy of Film and Television Arts (BAFTA) and the Academy of Motion Pictures Arts and Sciences (AMPAS). His TED talk has been viewed more than 1.6 million times.  The Black List @FranklinLeonard on Twitter & @theblcklst on Twitter @FranklinJLeonard on Instagram & @theblcklst on Instagram

Marek Probosz is a preeminent film, television and stage actor in his native Poland, and likened across Eastern Europe as "the DeNiro of Poland,” Probosz has more than 50 starring roles to his credit. Many of his films have competed in key international festivals including Venice (Jerzy Skolimowski’s 30 Door Key, 1991), Cannes and Karlovy Vary (Jirí Svoboda’s award-winning End of the Lonely Farm Berghof, 1984) and San Sebastian (Frantisek Vlácil’s The Shadow of the Ferns, 1984). Probosz’s theatrical adaptation of Oscar Wilde’s Salome, which he wrote, directed and starred in, was cited by the Czech National Critics Poll as the No. 2 artistic event of 1986, after Sir Richard Attenborough’s Oscar-winning film Gandhi (1983) and ahead of Ingmar Bergman’s Oscar-winning Fanny and Alexander (1982).In 1987, Probosz came to the United States at the invitation of American Cinematheque. Since that time, he has collaborated with such Academy Award winners and nominees as F. Murray Abraham, Warren Beatty, Annette Bening, Don Cheadle, Katharine Hepburn; cinematographers Conrad Hall, Ryszard Lenczewski and Matthew Libatique; composer Jan A.P. Kaczmarek; directors Darren Aronofsky, Todd Field, Agnieszka Holland, Scott Silver and Andrzej Wajda; costume designer Theodor Pistek and art director Ewa Braun.Probosz’s film and television career spans roles in Polish, Czech, German, French, Italian and American productions and co-productions. In the United States, he most recently guest-starred on CBS' Scorpion. He has also had guest-starring roles on ABC’s Scandal, CBS’ Numbers, NBC’s JAG and USA’s Monk. He received strong reviews from The New York Times, The Hollywood Reporter and Variety for his portrayal of Roman Polanski in the 2004 CBS miniseries Helter Skelter.From 2004-2009, Probosz portrayed the first homosexual character featured on Polish national television, Grzegorz Gorski, in the highly rated Polish drama L Like Love. In 2006, Probosz starred as the Polish WWII hero Witold Pilecki in The Death of Captain Pilecki, which garnered the Special Jury REMI Award at the 2007 WorldFest-Houston International Independent Film Festival and had screenings at consulates, universities and embassies throughout the world. In 2012, he recorded the audiobook The Auschwitz Volunteer: Beyond Bravery, about Pilecki, for Audible.com, which received an IBPA Benjamin Franklin Silver Award in 2013 and a Prose Award in 2012.Probosz is the author of two books published in Poland: The novel Eldorado (2009) and Call Me When They Kill You (2011), a collection of short stories.In 2011, Probosz was awarded the Mortui Sunt Ut Liberi Vivamus Bronze Medal in London and the Gold Medal Knight of Humanity in Auschwitz for his portrayal of Witold Pilecki and in recognition of his outstanding services in sharing Pilecki’s ideals of heroism beyond religion, race and time around the world. In Spring 2017, Probosz starred as Pilecki in a multimedia stage production of The Auschwitz Volunteer at American Jewish University and UCLA.

This influential avant-garde short film made for the 1964 New York World's Fair drew national controversy for its allegorical portrayal of Jesus as a clown in the circus of life. A much more subtle and arty Christian film than we are usually accustomed to watching for this podcast, it tells a New Testament story using whimsical imagery that can turn deeply haunted at a moment's notice. Grant Moninger of American Cinematheque and Beyond Fest introduces us to Parable by reminiscing about his terrifying experience seeing it in church as a young kid. He also delights us with his vivid stories of growing up in an ultra-rural Protestant community involving graveyards, pageants, petty rivalries, and learning why dogs go to hell.  Follow Grant on Twitter: https://twitter.com/GrantMoninger Listen to the American Cinematheque official podcast: https://americancinemathequeshow.libsyn.com/ View our full episode list and subscribe to any of our public feeds: http://boysbiblestudy.com Unlock bonus episodes and invitations to monthly livestreams: http://patreon.com/boysbiblestudy Follow us on Instagram: http://instagram.com/boysbiblestudy Follow us on Twitter: http://twitter.com/boysbiblestudy

Born in Philadelphia, he earned a BA at Morehouse College and an MFA in Film and Television Production at USC's School of Cinematic Arts. His award-winning short films have played at festivals including American Cinematheque, BlackStar, and Camerimage, and have been supported by Bureau of Creative Works, Issa Rae Presents, NoBudge and Vimeo. He is currently developing the narrative feature JOY AND PAIN, supported by the San Francisco Film Society (SFFILM) and the Westridge Foundation. We talk about his transition from working on Wall Street to becoming an Independent Filmmaker, the Great Migration of black people west, and the development of his new narrative feature JOY AND PAIN. Instagram: https://www.instagram.com/s.jenksii/ A CRAFTSMAN: https://vimeo.com/320896354 Short Film Review: https://shadowandact.com/shortfilmshoutout-a-craftsman-is-a- sobering-haunting-look-at-grief Website: http://www.sanfordjenkins.com

Kim Skildum-Reid best-selling author of The Sponsorship Seeker's Toolkit gives filmmakers tips on how and why to incorporate Corporate Sponsorship into their fundraising plans. Co-hosts Janine McGoldrick and Leah Curney discuss the tragic passing of Chadwick Boseman and the American Cinematheque tribute to Lynn Shelton. Kelsey Marsh tells us why Women Crush Wednesday Spotlight Member Jenn Halweil (jenn@gobeyondlab.in) is crushing it with Financially Naked. Links for Kim Skildum-Reid: https://powersponsorship.com/ & YouTube Channel How Star Wars Was Saved in the Edit If you would like to nominate someone for our Women Crush Wednesdays Spotlight, share your story or hit us up with an interview suggestion, contact us at communications@nywift.org. For more great information about women in film and television subscribe to this podcast and go to NYWIFT.org. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

All the President's Minutes is a podcast where conversations about movies, journalism, politics and history meet. Each show we use the seminal and increasingly prescient 1976 film All The President's Men as a portal, to engage with the themes and the warnings of the film resonating since its release. For minute 67, for a second time, I join writer & director of *THE TROUBLE WITH THE TRUTH;* contributor to American Cinematographer & Filmmaker; AMPAS historian; Jim Hemphill. Blake and Jim discuss interviewing Val Kilmer, "auteurism," the paradoxical realism of *President's* , and that *JAWS* has taken the mantle of the most 2020 movie. ** ------------------ About Jim Hemphill ------------------ Jim Hemphill is the award-winning screenwriter and director of THE TROUBLE WITH THE TRUTH ( http://amzn.to/2n9ehhd ) , a critically acclaimed (currently 94% at Rotten Tomatoes ( https://www.rottentomatoes.com/m/the_trouble_with_the_truth/reviews/ ) ) romantic drama starring Lea Thompson and John Shea. After receiving his B.F.A. from Columbia College in Chicago and his graduate degree from the film school at USC, Jim began his career by writing and directing the micro-budget horror movie BAD REPUTATION ( https://amzn.to/368k7CF ) , which received international distribution on DVD and VOD from Warner Bros. and Twentieth-Century Fox. In addition to his moviemaking endeavours, Jim is a respected film historian whose essays on cinema and television have appeared in the Chicago Reader, Film Comment, Film Quarterly, Moviemaker, and many other outlets. He is a researcher and interviewer for the Academy of Motion Picture Arts and Sciences Visual History Project. Jim has contributed historical audio commentaries to DVD releases of many films including Stanley Kramer's INHERIT THE WIND, Francis Coppola's GARDENS OF STONE, and the Clint Eastwood classic HANG 'EM HIGH. Jim also hosts a podcast for American Cinematographer's website, where he interviews the industry's top directors of photography and is the author of Focal Point, a regular column on directing for Filmmaker Magazine ( http://filmmakermagazine.com/author/jim-hemphill/ ). He is a programming consultant at the Egyptian and Aero theatres in Los Angeles, where he has moderated discussions with Martin Scorsese, Charlize Theron, Nicolas Cage, David Mamet, Jim Jarmusch, Paul Schrader, Viggo Mortensen, Shirley MacLaine, and many others. His films have screened at dozens of film festivals and art houses around the world including the Sundance Film Festival, American Cinematheque, Facets Multimedia, Alamo Drafthouse and ArcLight Hollywood. *Twitter:* @JimmyHemphill ( https://twitter.com/JimmyHemphill ) Support this podcast at — https://redcircle.com/one-heat-minute-productions/donations Advertising Inquiries: https://redcircle.com/brands

#TheFilmScene #IlleanaDouglas #AlanKRode Alan K. Rode’s affinity for classic cinema is part of his DNA. His mother grew up in Hollywood and was an extra in Our Gang comedy shorts and studied acting at Ben Bard Drama. His grandfather was a silent film violinist who went from bit actor to Universal Studios house composer and eventually founded Corelli-Jacobs Recording Inc. A great-uncle doubled Gary Cooper in The Virginian (1929) and fought Jack Dempsey. Yet another grandfather promoted rodeos with cowboy star Hoot Gibson at Gilmore Stadium. Before the advent of classic films on cable, video or streaming, Alan incessantly watched and catalogued movies on television.He is the author of a pair of notable cinema biographies. Charles McGraw: Film Noir Tough Guy is a critically acclaimed saga of the rough-hewn actor’s life and times. Michael Curtiz: A Life in Film is the first comprehensive biography of the director of Casablanca, Mildred Pierce, Yankee Doodle Dandy and The Adventures of Robin Hood among other classic films. The Curtiz book has received enthusiastic reviews from the New York Review of Books (David Thomson), the Wall Street Journal (Scott Eyman), the Los Angeles Times (Kenneth Turan) and Leonard Maltin. Alan has been the producer and host of the annual Arthur Lyons Film Noir Festival in Palm Springs, California since 2008. He has hosted and programmed classic cinema events for a variety of organizations including: The American Cinematheque, the Los Angeles Conservancy, the Alex Film Society and the UCLA Film and Television Archive. Alan is also charter director and treasurer of the Film Noir Foundation. With FNF president Eddie Muller, Alan has spearheaded the preservation and restoration of “lost” films and co-programs and co-hosts several of the annual NOIR CITY film festivals. Alan founded TVP Enterprises in 2017. With his talented filmmaking partners, he exec-produced featurette packages for the Blu-ray releases of: T-Men, He Walked by Night, The Man Who Cheated Himself and Trapped. A U.S Navy veteran, Alan is the chairman & programmer of the historic Hollywood Legion Theater. Alan’s video interviews with numerous Golden Age of Hollywood personages can be found on his web site and the Film Noir Foundation’s video archive. His blog ONE WAY BLOG and writing and interviews for a variety of publications (several are archived on his web site) have been supplemented by his commentaries and featurettes on numerous Blu-Ray®/DVD classic film releases. He can be contacted via email at: moxie160@gmail.com.

 Sparknotes Transcript:(1:20) The 2nd edition talking about an actual spiritual sequel, John Cleese regretting making Fierce Creatures, Do Dr. J & Dr. Dre have their doctorates, loving A Fish Called Wanda's opening credit sequence, Barrister & Esquire, Roman Israel, Kevin Kline needs facial hair, reddit page for people that enjoy French kissing men with facial hair, setting a comedy at a zoo has potential, whole story has no stakes, knowing the taste of other person's blood, Jamie Lee Curtis' love affair with a Gorilla, electric chemistry, pro-bestiality comedy, A Fish called Wanda 2, Nietzsche, William Goldman touching up the end(21:21) Worst part of A Fish called Wanda, pitching how to craft the sequel, Ocean's 12, pitch to fix Fierce Creatures, finding a theme with cute animals, dangerous animals aren't exciting sitting in a zoo, wanting remakes to bad movies that had a good concept, movies as a tight rope walk, comparing sequels to pizza, John Cleese's two biggest regrets including Fierce Creatures, Cary Lowell, shout out to American Cinematheque, 2nd run movies needs new brandingLinks Mentioned:http://www.americancinemathequecalendar.com/content/a-fish-called-wanda-fierce-creaturesFollow Us:Our WebsiteSubscribe on Apple PodcastsTwitterMediumFacebook

Head Programmer of the American Cinematheque and Beyond Fest, Grant Moninger, discusses the experiences of the movies that made him.

In this two-part Cinema Junkie podcast I look to the female perspective in film. In this first part I speak with Heidi Honeycutt, director of programming for Etheria Film Night. Founded in 2014, Etheria Film Night is a showcase of horror, science fiction, fantasy, action, thriller, and dark comedy directed by women and for an audience that includes producers, managers, showrunners, distributors, and genre fans. Etheria says its goal is to put the women directors who want to make genre films and TV in front of the people who want to hire them. Etheria is hosted by American Cinematheque and takes place at its Egyptian Theater.

Grant Moninger (programmer for The American Cinematheque) and Ryan Marker (color commentator for Screen Drafts) draft the best dog movies of all time!

Shudder TVs first original documentary feature, HORROR NOIRE: A HISTORY OF BLACK HORROR takes a critical look at a century of genre films that by turns utilized, caricatured, exploited, sidelined and embraced both black filmmakers and black audiences. This panel discussion followed the premiere screening of Horror Noire and features Ashlee Blackwell (co-writer/producer), Xavier Burgin (director), Tananarive Due (executive producer), Tony Todd (actor, CANDYMAN), William Crain (director, BLACULA), Ken Foree (actor, DAWN OF THE DEAD), Keith David (actor, THE THING) and Rachel True (actor, THE CRAFT). Moderated by Lisa Bolekaja. Recorded Live at the Egyptian Theater, Hollywood CA. February 1 2019. Presented by American Cinematheque.CONNECT W/ BEN BLACKER & THE WRITER'S PANEL ON SOCIAL MEDIA:https://twitter.com/BENBLACKERhttps://www.facebook.com/TVWritersPanelTHE WRITER'S PANEL IS A FOREVER DOG PODCAST:http://foreverdogproductions.com/fdpn/podcasts/the-writers-panel