Podcast appearances and mentions of Armand Assante

This week, the High & Low crew plus special guest Mystery Jay pick their winner in their gambling showdown. They're talking DJ Caruso's 2005 headscratcher Two for the Money, starring Matthew McConaughey, Al Pacino, and Rene Russo. They delve into Pacino's obsession with cuck chairs, McConaughey's passion for green lights, and the perils of running across Armand Assante in the middle of Central Park. Tune in to see if this movie covers the spread or if Rounders (1998), their high in this pairing, beats the over-under.Get social with High & Low!Instagram @HighLowMovieShowThreads @ HighLowMovieShowJoin our Facebook Group The High & Low DungeonBuy Us a Coffee Twitter @HighLowMovieSho

Co-hosts Maurice Bursztynski and Jonathan Melville join Mike to take on a Patreon request from listener John Atom—Nevil Shute's On the Beach. They dive into both the 1959 Stanley Kramer film and the 2000 TV mini-series directed by Russell Mulcahy. Set in the aftermath of a nuclear holocaust, the story centers on a U.S. submarine that finds refuge in Melbourne, Australia, where residents face the grim reality that the fallout is heading their way.The episode explores the emotional depth and existential dread of both adaptations, from the restrained melancholy of Gregory Peck and Ava Gardner to the more modern approach with Armand Assante and Rachel Ward. With perspectives shaped by different eras, the hosts unpack how each version captures the quiet devastation of waiting for the end.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

Co-hosts Maurice Bursztynski and Jonathan Melville join Mike to take on a Patreon request from listener John Atom—Nevil Shute's On the Beach. They dive into both the 1959 Stanley Kramer film and the 2000 TV mini-series directed by Russell Mulcahy. Set in the aftermath of a nuclear holocaust, the story centers on a U.S. submarine that finds refuge in Melbourne, Australia, where residents face the grim reality that the fallout is heading their way.The episode explores the emotional depth and existential dread of both adaptations, from the restrained melancholy of Gregory Peck and Ava Gardner to the more modern approach with Armand Assante and Rachel Ward. With perspectives shaped by different eras, the hosts unpack how each version captures the quiet devastation of waiting for the end.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.

EPISODE 164 – THE ROAD TO EL DORADO “[lute-playing intensifies]” This week, Ashley insults our new sponsor; Brandon drinks the seawater; Chris goes full-tilt “aliens”; and Brian shares his armadillo theory. BTW: Fast and Furious: Star Wars Edition! Starring: Kevin Kline, Kenneth Branagh, Rosie Perez, Armand Assante, Edward James Olmos, Frank Welker, and Tobin Bell Directed by Eric “Bibo” Bergeron & Don Paul FOLLOW US:Patreon (https://www.patreon.com/trashwatch)Instagram (@trashwatchpodcast)TikTok (@trashwatchpodcast)YouTube (https://www.youtube.com/channel/UC5YpPcNIBmqNvvLvxa3WTLA)Email (trashwatchpodcast@gmail.com)Listen to Brian's music at (https://www.brianhorne.com)Support the show

The gang and special guest Charity Slobod return to Mega City One to dispatch justice High & Low style. They're wrapping up this Dredd-fully fun pair of movies by discussing Judge Dredd, Stylvester Stallone's  1995 critical flop.  Grab your Lawgiver 2.0. Hop on your Lawmaster. We're taking the long walk to uphold THE LAW.Judge Dredd stars Sylvester Stallone, Armand Assante, Diane Lane, Max von Sydow, and *sigh* ... Rob Schneider.Get social with High & Low!Instagram @HighLowMovieShowThreads @ HighLowMovieShowJoin our Facebook Group The High & Low DungeonBuy Us a Coffee Twitter @HighLowMovieSho

#realconversations #gardenstatefilmfestival #actors#njfilmacademy #director #producer CONVERSATIONS WITH CALVIN WE THE SPECIESMeet DIANE RAVER: Founder, Garden State Film Festival; Exec.Dir, NJ Film Academy;https://www.youtube.com/c/ConversationswithCalvinWetheSpecIEs432 Interviews/Videos  8100 SUBSCRIBERSGLOBAL Reach. Earth Life. Amazing People.  PLEASE SUBSCRIBE **DIANE RAVER; Founder, Garden State Film Festival; Exec. Dir,NJ Film Academy; LIVE from Monmouth CountyYouTube:BIO: Diane Raver, a proud Sea Girt, NJ native, discoveredher passion for cinema early in life, inspired by countless visits to her localmovie house in Manasquan the Algonquin. With a distinguished career as aproducer and director, she made history in 1987 by becoming the first womanpresident of a TV commercial production company in New York City, founding TheMadison Group. In 2002, Diane co-founded The Garden State Film Festival,(GSFF) which has evolved into an internationally celebrated event held annuallyin Asbury Park. The GSFF attracts over 20,000 global attendees yearly and hashosted a roster of illustrious celebrities, including Bruce Springsteen, GlennClose, Robert Pastorelli, Christopher Lloyd, Ed Asner, Armand Assante, FrankVincent, Paul Sorvino, Budd Schulberg, Kurtwood Smith, James Gandolfini,Celeste Holm, and Clarence Clemons.Diane's contributions to the film industry have beenrecognized with numerous accolades, including the prestigious Alice Guy BlachéAward, the New Jersey Moviemakers Network Award for Excellence, and theAlgonquin Arts Leadership & Legacy Award. She holds a B.S. degree fromThomas Jefferson University, and her commitment to supporting New Jerseyfilmmakers and community initiatives has earned her widespread recognition.Diane is the widow of the award-winning Director/CameramanM. Carroll Raver, Jr. She is not only a proud stepmother to his four childrenfrom previous marriages but also the mother of their three children together.As a pioneer in the film industry and an unwavering advocate for New Jerseyfilmmakers, Diane Raver continues to leave a profound impact on both theentertainment world and her community.**LINKS:  gsff.orgLinkedIn: https://www.linkedin.com/in/diane-raver-b229365/New Jersey Film Academy: https://www.njfilmacademy.org/New Jersey Production Guide: https://www.njproductionguide.org/** WE ARE ALSO ON AUDIOAUDIO “Conversations with Calvin; WE       the SpecIEs”ANCHOR https://lnkd.in/g4jcUPqSPOTIFY https://lnkd.in/ghuMFeCAPPLE PODCASTSBREAKER https://lnkd.in/g62StzJGOOGLE PODCASTS https://lnkd.in/gpd3XfMPOCKET CASTS https://pca.st/bmjmzaitRADIO PUBLIC https://lnkd.in/gxueFZw

Larry Cohen var en mand, der ikke lavede film – han SKØD dem ud, som Sonny smider om sig med tvivlsommer one-liners. Hans film er små symfonier af gale koncepter, usandsynlige plottwists og karakterer, der alle ser ud til at være på nippet til at bryde den fjerde væg og bede om en pause. Det burde ikke være godt, men det er det stort set altid! Og i aftenens episode sætter vi os til bords hjemme hos Larry Cohen, der byder velkommen til sit krøllede VHS-univers – en verden, hvor guddommelige åbenbaringer, levende yoghurt og dødbringende ambulancer sameksisterer uden problemer. Niels serverer forretten i skikkelse af en forvildet køretur i ‘The Ambulance' (1990), hvor man som publikum konstant er i fare for at lade sig hypnotisere af Eric Roberts' sensuelt bølgende party-mullet. Vi sværger, den fortjener sin egen IMDb-side. Anyway, folk forsvinder i en mystiske ambulance, og James Earl Jones gnasker på cigarstumper, og det hele er overraskende godt. Ask præsenterer en virkelig overraskende hovedret med thrilleren ‘God Told Me To' (1976) – en film, der starter med masseskyderier, men hurtigt eskalerer til en ████████ sci-fi-thriller med ██████, ████████ og mystiske ███████████. Vi ved stadig ikke, hvad der egentlig foregår, og kan ikke afsløre noget – men vi kan lide det. Sonny runder af med ‘I, the Jury' (1982), hvor Armand Assante sexer sig gennem rollen som privatdetektiv Mike Hammer. Armand mener tydeligvis (og helt berettiget) og han nok er verdens bedste skuespiller og i hvert fald verdens mest sexede mand. Han spiller således med 100 % dedikation og 0 % forståelse for, hvad der sker omkring ham. Det er perfekt. Det hele er krydret med Cohens vilde tilgang til filmskabelse: Optag guerilla-style i New York? Tjek. Skriv et manuskript på en weekend? Tjek. Få nogen til at spille skuespil, som om deres liv bogstaveligt talt afhang af det? Tjek. OBS: Du skal være glad for alle dem, som støtter os i Klub Moviebox! Uden deres støtte måtte vi finansiere podcasten ved at sælge hjemmelavet ‘Q: The Winged Serpent'-merchandise på Den Blå Avis. Og det ville være trist og super sørgeligt, men pga. af guld- og ninjamedlemmerne i Klub Moviebox lever vi drømmen! Vil du også gerne støtte Moviebox, så hop ind på Patreon og støt os her. Slo-mo hi-five i solnedgangen sluttende med freeze frame til Klub Moviebox! Og husk: Spol episoden tilbage, når du har lyttet færdigt. Med udødelig VHS-kærlighed, Ask, Sonny, Niels & Casper

Welcome to another episode of Death Don't Do Fiction, the AIPT Movies podcast! The podcast about the enduring legacy of our favorite movies! This February we're celebrating “Dreddruary,” where we cover movies based on the British comic book character, Judge Dredd! In this week's episode, Alex, Tim, and Matt discuss Sylvester Stallone's misguided 1995 schlockfest, Judge Dredd!Recycled food! Bedazzled codpieces! Distracting lifts! A cool, creepy cyborg! A shockingly sneaky, giant robot! Lethal holograms! Futuristic court drama! Stylish garbs of justice designed by Gianni Versace! A strong score by Predator's Alan Silvestri and cinematography by Aliens' Adrian Biddle! An original song from The Cure! A surprisingly faithful comic adaptation in every way except for the lead character! A visual treat with incredible production design, animatronics, and visual effects, including one of the greatest fictional mega cities in cinema! A solid cast that includes James Remar (briefly), Armand Assante, Max von Sydow, Diane Lane, Rob Schneider unfortunately, and Sylvester Stallone's ego derailing the movie! Dark themes of police corruption and eugenics in this silly movie that maybe works better as a disappointing sequel to Demolition Man, from a frustrated director who loved both the source material and apparently Blade Runner! In addition, Alex shares his spoiler-free thoughts on Captain America: Brave New World, Oz Perkins' new horror comedy, The Monkey, and the final nail in the Sonyverse coffin, Kraven the Hunter!You can find Death Don't Do Fiction on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The Death Don't Do Fiction podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris, Tim Gardiner, and Matt Paul, the show gives you a peek behind the scenes from three filmmakers with oddly nonexistent filmographies. You can find Alex on Twitter, Bluesky, or Letterboxd @actionharris. Matt is a terrific artist that you can find on Instagram @no_wheres_ville. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the Death Don't Do Fiction crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter or Instagram @aiptmoviespod.Theme song is “We Got it Goin On” by Cobra Man.

Sumit Sharma and Chris Mitchell from Breaking Atoms podcast return to Flixwatcher to review Sumit's choice American Gangster. American Gangster (2007) is biographical crime thriller based on Harlem drug lord Frank Lucas. Directed by Ridley Scott and screenplay by Steven Zaillian based on the The Return of Superfly by Mark Jacobson. It's stacked cast features Denzel Washington as Frank Lucas, Russell Crowe as Richie Roberts, Chiwetel Ejiofor as Huey Lucas, Josh Brolin as Detective Trupo, RZA as Moses Jones, Cuba Gooding Jr. as Nicky Barnes, Armand Assante as Dominic Cattano, Idris Elba as Tango and Common as Turner Lucas. In 1960s Harlem Frank Lucas is Bumpy Johnson's right-hand man. When Bumpy dies of a heart attack Frank sees an opportunity to innovate in the drug trade by buying directly from the source in Vietnam and thus cutting out the middle man. Not only that, he trademarks his superior heroin as ‘Blue Magic' and its affordability eliminates the competition. All is going well for Frank until he comes under scrutiny from aspiring lawyer and honest detective Richie Roberts. American Gangster is solid crime drama with a standout performance from Denzel Washington. Like with many Hollywood adaptations what is true and what is there for dramatic effect is unclear but it does make a compelling story of a true life figure. Recommendability scores for American Gangster were high, with a runtime of nearly three hours repeat viewing scores were lower to give an overall rating of 3.88. [supsystic-tables id=379]     Episode #365 Crew Links Thanks to the Episode # 365 crew of Sumit Sharma and Chris Mitchell from Breaking Atoms podcast You can find their website here https://x.com/BreakTheAtoms and at https://www.breakingatoms.co.uk/podcast   Please make sure you give them some love   More about American Gangster For more info on American Gangster can visit American Gangster IMDB page here or American Gangster Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. Learn more about your ad choices. Visit megaphone.fm/adchoices

* Armand Assante probes the troubled figures he portrays in film: Don Q, When Nietzsche Wept, and Gotti 2 * A Cuban leader's speech--and the deterioration of US political language * UK Desk: Busted! And...'Now let's talk about Zardoz' * and Garland Nixon!

There has been a lot of movement in recent years with younger generations getting into classic spoof films. The Zucker, Abrams, Zucker and family classics from Airplane, to The Naked Gun, to Hot Shots! are making waves with new audiences. But one great spoof that was pretty much lambasted by critics on its release still remains under the radar for older and newer spoof fans. The Carl Reiner directed Fatal Instinct starred the one and only Armand Assante, who wasn't really know for comedy at the time. Armand joined us to talk about his new film, Don Q, as well as this forgotten masterpiece of comedy cinema.

Blake has been a great friend and supporter for a good while now. And hopefully after this review of 1993's Fatal Instinct he still is! Fatal Instinct was an ambitious attempt to spoof the popular erotic thrillers of the early 1990s, but it quickly became an exercise in comedic misfires. Directed by Carl Reiner, a seasoned comedy veteran, the film set out to parody films like Basic Instinct and Fatal Attraction, blending noir elements with slapstick humor. Reiner cast Armand Assante, known for his serious roles, as the deadpan detective-lawyer Ned Ravine, hoping his straight-faced delivery would amplify the absurdity. The production leaned heavily into noir aesthetics, using moody lighting, shadowy sets, and sultry music to mimic the atmosphere of the thrillers it aimed to lampoon. Despite the experienced cast and high production values, the film struggled from the outset. The humor, though abundant, felt forced and overplayed, often missing the mark. The balance between parody and slapstick proved difficult to maintain, resulting in a film that felt awkward and uneven. The production team's commitment to visually recreating the noir vibe couldn't save the film from its misjudged comedic tone, and upon release, Fatal Instinct was met with largely negative reviews. Although it failed to resonate with most audiences, the film did eventually gain a small cult following, largely due to its status as a "so-bad-it's-good" comedy. If you enjoy the show we have a Patreon, so become a supporter. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Plot Summary: Ned Ravine is both a lawyer and a detective because, why not? He's caught in the middle of a web of utter nonsense: his wife's trying to bump him off for the insurance money, his psychotic mistress is obsessed with him, and his innocent assistant is head over heels for him. All while he's trying to solve crimes, and defend the people he's caught in court. The plot throws every classic noir trope into a blender, hits "chaos," and pours out a mad cocktail of mistaken identities, ridiculous schemes, and over-the-top seductions. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support

In this episode, we're excited to have Chris Mormando, also known as Chris Boy or Gaetano (from Gravesend), in the BDP studio! Chris shares his incredible journey of growing up in Bensonhurst, Brooklyn, getting into trouble, going to jail, and ultimately realizing his dream of becoming an actor and filmmaker. He has worked with stars like 50 Cent, Chazz Palminteri, Andrew Dice Clay, Armand Assante, Steven Van Zandt, and many more! Be sure to follow Chris on all social media's @Chris_Mormando IMDB page - https://www.imdb.com/name/nm2722220/   Become a BDP Member! www.burndownpodcast.com

Send us a Text Message.We haven't always had a lot of luck in the 90s, especially when it comes to comic book movies. And if critics were right back then, this one might not change that trend. We don't remember much about this movie but we have high hopes. A cool comic, with a big budget, with Sylvester Stallone, and Rob Schneider as the comic relief. It also stars Diane Lane, Max Von Sydow and what seems like an overqualified actor in the role of VILLIAN via Armand Assante. How could this be bad? Join us as we go back to 1995 and watch the Judge, Jury & Executioner of '90s action.Do You Remember Liking This Movie?

"The Army was no laughing matter until Judy Benjamin joined it." For this week's episode, we are discussing the 1980 military comedy 'Private Benjamin" starring Goldie Hawn, Eileen Brennan and Armand Assante. Directed by Howard Zieff. Private Benjamin- IMDB: https://www.imdb.com/title/tt0081375/?ref_=hm_rvi_tt_i_10 Private Benjamin - Rotten Tomatoes: https://www.rottentomatoes.com/m/private_benjamin Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/ Jason's Letterboxd Ratings: https://letterboxd.com/jasonmasek/list/jasons-all-80s-movies-podcast-ratings/ Website: http://www.all80smoviespodcast.com X (Twitter): https://twitter.com/podcastAll80s Facebook (META): https://www.facebook.com/profile.php?id=100030791216864 TikTok: https://www.tiktok.com/@all80smoviespodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Christina Abreu drops in to discuss Cuban-American history, Cuban music, and the representation of Cubans in film. We explore the origins and characteristics of Cuban music, as well as the migration of Cubans to the United States in the 1950s. We also discuss the relationship between Cuban-Americans and other Latino groups, as well as the integration and segregation within Cuban-American communities. This is a fun podcast and deep dive into Cuban American history. I hope you dig it.About our guest:Christina Abreu is associate professor of history and director of the Center for Latino/Latin American Studies at Northern Illinois University. Her research focuses on the role of race, nationalism, and migration in the Cuban and Spanish Caribbean diasporic communities of the United States with a particular emphasis on popular culture.  Her first book, Rhythms of Race: Cuban Musicians and the Making of Cuban New York City and Miami, 1940-1960, examined the relationship between black and white Cuban musicians and the Cuban and broader Latinx communities of New York City and Miami in the 1940s and 1950s. In her second book, Patria over Profits: The Story of Afro-Cuban Boxing Champion Teófilo Stevenson, she offers a cultural history of the life and times of Afro-Cuban boxing champion Teófilo Stevenson, winner of three heavyweight boxing Olympic gold medals in 1972, 1976, and 1980. In detailing Stevenson's triumphs in the ring, another more complex and interconnected story emerges about revolutionary Cuba and the island's Afro-Caribbean connections, race and black athletic activism, Cuban exile culture and politics, and international sports celebrity. Patria over Profits is under contract with the Sport and Society series at the University of Illinois Press.

You can watch the VIDEO version of this episode here: Retro Movie Review: Ep. 329 - I, The Jury (1982) (youtube.com) On this episode, the Retro Movie Geek crew is geeking out over I, the Jury (1982) and Carl Weathers the overcomplicated story CND Mike Hammer being a douchebag and much, much more! Synopsis: The tough guy hero of the '40s and the excitement of the '80s, come together in this dazzling remake of a classic thriller. Mickey Spillane's “I,The Jury” is updated with all the violence, nudity, wit, and style that was missing from the puritanical original. Straight from the school of the hard-boiled detective comes Mickey Spillane's hard living private eye – Mike Hammer.  Played by the ruggedly sexy Armand Assante, Hammer sets out to get the guys who did in his friend Jack. His quest for vengeance leads him onto the paths of the CIA, a sexy therapy center, and a kinky killer. All along the way, there are spectacular chases and incredible excitement.  With a strong supporting cast featuring Barbara Carrera, Paul Sorvino, Judson Scott and Alan King, and action-packed direction by Richard T. Heffron…  I, THE JURY is first-rate entertainment!    ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: LISTENER FEEDBACK: Leave us your voicemail feedback at (484) 577-3876. Check out Darrell's other cool podcasts here. Check out Peter's Retro Reviews over at ForgottenFlix.com here. Check out The Forgotten Flix Podcast here. Special thanks to Kevin Spencer for the fantastic show logo! Special thanks to Hayden for the use of his fantastic music for our opening theme this episode! You can check out more from this amazing artist here! Special thanks to Retro Promenade for the use of music from the album Carpenter. Music use permitted under a Creative Commons license. CLICK HERE and get a copy of the album and support these fantastic artists!

MOORE MOORE MOORE!!! rambles on down to Florida to dive into 1996's Striptease! With what may be the most well rounded supporting players of the four movies we're covering this month, we've got Burt Reynolds, Armand Assante, Ving Rhames, and Robert Patrick as Demi Moore's dirtbag ex-husband. From IMDB: A stripper and single mother gets dragged into a dangerous situation after a congressman takes a fancy to her. ENJOY! YES. SAG-AFTRA HAVE FINALLY JOINED THE WGA, AND HAS COME TO AN AGREEMENT WITH THE AMPTP. IT'S BEEN A VERY LONG AND UPHILL BATTLE FOR NOT JUST THE MEMBERS AND THEIR FAMILIES OF BOTH UNIONS, IT HAS ALSO CAUSED A GREAT DEAL OF HARDSHIP FOR THE REST OF THE INDUSTRY'S PROFESSIONALS AND THEIR FAMILIES. BUT ALL ISN'T BACK TO NORMAL AND WON'T BE FOR SOME TIME. THESE WORKERS AND THEIR FAMILIES ARE GOING TO BE STRUGGLING WHILE THE INDUSTRY STARTS REMEMBERING HOW TO WORK. THE OVERWHELMING BURDEN OF PUTTING FOOD ON THE TABLE AND A ROOF OVER ONE'S HEAD DOESN'T END WHEN THE DEALS ARE MADE OR EVEN RATIFIED. THE INDUSTRY'S USUAL HIATUS/SHUTDOWN THIS MONTH IS MOST LIKELY GOING TO EXTEND ANY KIND OF BREAK FROM "NORMALCY" IN THE FREQUENCY OF WORK. IT COULD EVEN BE MONTHS INTO 2024 BEFORE PRODUCTIONS GET UP TO SPEED AGAIN. BUT EVEN IF THEY WORK THROUGH THAT USUAL "HOLIDAY HIATUS", FOR MANY FAMILIES THEY ARE GOING TO CONTINUE TO NEED ASSISTANCE, EVEN IF THEY RETURN TO WORK. THIS IS WHERE YOU CAN HELP. IF YOU HAVE A FEW DOLLARS TO SPARE, PLEASE CONSIDER DONATING TO THE ENTERTAINMENT COMMUNITY FUND. THE FUND HELPS ALL WORKERS AFFECTED BY THE STRIKE, NOT JUST ACTORS AND WRITERS. Entertainment Community Fund https://entertainmentcommunity.org/support-our-work ------------------ As always, and maybe even more than ever, here are some mental health resources for North America: United States  https://www.mentalhealth.gov/get-help/immediate-help https://suicidepreventionlifeline.org/ The Suicide Hotline phone number has been changed. Now, just text or call 988. Canada https://www.ccmhs-ccsms.ca/mental-health-resources-1 1 (833) 456-4566 Even though we don't say it in this episode, more NOW than ever before: PLEASE PLEASE PLEASE take care of yourselves and those around you. Be mindful of your surroundings. Karate in the Garage Linkages

BEEFY HUNK ACTION MONTH continues with our first Double Feature! While this is an episode for the 1995 Judge Dredd, we actually ended up watching the 2012 Dredd and we compare and contrast! Please welcome back multiple time guest: Cassandra Hodgins! Please remember to like, comment, subscribe and click that notification bell for all our updates! It really helps us out! Starring: Sylvester Stallone, Armand Assante, Diane Lane & Rob Schneider Directed By: Danny Cannon Synopsis: In the crime-plagued future, the only thing standing between order and chaos is Judge Joseph Dredd (Sylvester Stallone). His duty: police the violent metropolitan sprawls that crowd the decaying earth, and kill criminals on the spot if necessary. The tables are turned, however, when maniacal ex-Judge Rico (Armand Assante) frames Dredd for murder. But, as his opponents soon discover, not even a prison sentence can stop Dredd from doling out his signature brand of justice. Watch live at: https://www.twitch.tv/heydidyouseethisone every Thursday at 8 PM EST Audio version of the show: Spotify - https://podcasters.spotify.com/pod/show/heydidyouseethisone Apple Podcasts - https://podcasts.apple.com/us/podcast/hey-did-you-see-this-one/id1712934175 #xboxvideo #dredd #judgedredd #action #adventure #adaptation #comicbookmovie #sylvesterstallone #heydidyouseethisone #comedy #podcast #filmreview #movies #films #moviereviewpodcast #moviereview #filmreview #podcast #podcastersofinstagram #spotify #podcaster #podcasting #podcastlife #podcasts #youtube #youtuber #subscribe #youtubevideo #like #comment #entertainment #follow #media #live #funny #life #reality #podcasthost #podcastaddict #anchorfm #spotifypodcast #inspiration #podcastnetwork #podcastcommunity --- Send in a voice message: https://podcasters.spotify.com/pod/show/heydidyouseethisone/message

Welcome to our annual Animation Month, to start things we watched the 2000 Dreamworks film The Road to El Dorado. Directed by Eric "Bibo" Bergeron and Don Paul the film follows two con artists who, after winning the map to El Dorado in Spain, wash ashore in the New World and its inhabitants mistake them for gods. The film features the voices of Kevin Kline, Kenneth Branagh, Rosie Perez, Armand Assante, and Edward James Olmos with original music by Elton John. Come join us!!! Website : http://tortelliniatnoon.com/ Instagram: https://www.instagram.com/tortelliniatnoonpodcast/ Facebook: https://www.facebook.com/TortelliniAtNoon Twitter: https://twitter.com/PastaMoviePod

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

Gravesend Season 2 is now streaming on Amazon Prime and Sole Free was there on the red carpet for the world premier. Gravesend, a 1980's series of events revolving around Benny Zerletta (William DeMeo), a Brooklyn based Italian-American, soldier in the Colezzo crime family. Benny depicts the difficulties that he faces with family and growing up in the footsteps of his cousin, who behind closed doors was the leader of a criminal organization in ‘Gravesend.' Listen as Harlan talks to the stars and friends of the series including: Christopher Mormando, Chuck Zito, Darryl Strawberry, Martin & Jesse Kove, Steve Martorano, Vic Dibitetto, Mario Cantone, Jen Jacob, Armand Assante, Chazz Palminteri and of course Cristian Demeo and William Demeo. Follow on Instagram: @gravesendseries and @theofficialharlan

Welcome to my wildly inconsistent and poorly produced cinematic journal, 10,000 FLICKS, where I endeavor to watch ten thousand randomly selected films I have never seen. This time, I review the 1980 comedy PRIVATE BENJAMIN, starring Goldie Hawn, Eileen Brennan, and Armand Assante. If you'd like to support FILMGAZM PRODUCTIONS with a monthly donation, follow this link: https://podcasters.spotify.com/pod/show/the-filmgazm-podcast/support Hosted by Connor Eyzaguirre Music by Cooley Cal New episodes whenever I feel like it! Special thanks to Austin Johnson, Josh Allred, Caleb Leger, Colton Jenkins, Isabel Gonzalez, Jeremy Johnson, Adam Johnson, and Mysia Pierce-Lewis. E-mail us at filmgazm@gmail.com, subscribe on Apple Podcasts, Spotify, Google Podcasts, Breaker, Overcast, Pocket Casts, RadioPublic, or Amazon Music. Follow us on Twitter, Facebook, Instagram, YouTube. Reach out if there's a movie you want us to review! Visit https://www.filmgazm.com for movie reviews, articles, podcasts, and trailers of upcoming movies. Follow us on Letterboxd for daily reviews! DISCLAIMER - We do not own nor do we pretend to own any posters or artwork. We mean only to review and discuss movies. All trademarks are the property of the respective trademark owners. --- Support this podcast: https://podcasters.spotify.com/pod/show/the-filmgazm-podcast/support

Luke Yankee Has written, directed, produced, taught, lectured and acted throughout the country and abroad. He has run two regional theatres, serving as Producing Artistic Director of the Long Beach Civic Light Opera  and the Struthers Library theatre.Luke's published plays include THE LAST LIFEBOAT and A PLACE AT FOREST LAWN, both published by Dramatists Play Service.   His other plays include THE JESUS HICKEY (which premiered in Los Angeles starring Harry Hamlin) and THE MAN WHO KILLED THE CURE, which had  it's world premiere in Southern California in February 2017. He has also written numerous TV spec scripts and pilots.His book, JUST OUTSIDE THE SPOTLIGHT:  GROWING UP WITH EILEEN HECKART is published by Random House (under the imprint of Back Stage Books), with a foreword by Mary Tyler Moore. Critics have praised it as “One of the most compassionate, illuminating showbiz books ever written.” (Musto, The Village Voice)  It was recently cited by PaperMag as “One of the Ten Best Celebrity Memoirs of All Time.”He has taught and guest directed extensively at colleges, universities and conservatories throughout the U.S. and abroad, including five years at the American Academy of Dramatic Arts, Northwestern, Ohio State, AMDA, Denison, University of New Mexico, the Folkwang Hochschule (in Essen, Germany) and three years on the faculty of Columbia College-Hollywood. He has been a panelist and guest instructor at the William Inge Theatre Festival, where he has performed with Marybeth Hurt, Holland Taylor and George Grizzard. He is also a member of their Advisory Board. He is currently on the faculty of The American Musical and Dramatic Academy (AMDA), teaching advanced acting and scene study.His theatre acting credits include “Our Town” at the American Shakespesare Theatre with Fred Gwynne, the U.S. premiere of “The Greeks” at The Williamstown Theatre Festival with Gwyneth Paltrow, Blythe Danner, Christopher Reeve and Celeste Holm and “The Dream Watcher” with Eva LeGallienne. In film and television, he has appeared in “The Hiding Place” with Julie Harris, “Ragtime” with Elizabeth McGovern, “Evergreen” with Armand Assante and “The Equalizer” with Jim Dale.Luke has studied at the Juilliard School of Drama, New York University, University of California – Riverside, Northwestern University, Circle in the Square and the Herbert Berghof Studio.He is the son of the late Eileen Heckart, who won an Academy Award for “Butterflies Are Free” and appeared in over 15 feature films, 20 Broadway plays, and countless television programs. Ms. Heckart is a member of the Theatre Hall of Fame and a multiple Emmy and Tony Award winner. In her honor, Luke created the Eileen Heckart Memorial Scholarship Fund at Ohio State University, her alma mater.Luke toured internationally for more than ten years with  DIVA DISH, his one-man show about the golden age of Broadway and Hollywood.  There was such demand for a sequel, he  created DIVA DISH: THE SECOND HELPING, which he premiered at the Desert Rose Theatre in Palm Springs.Luke and his husband Don Hill spend time at their homes in Long Beach, CA and Palm Springs, CA.For more info ( including his full Bio) or to contact Luke:  https://yankeehillproductions.comLuke's email is: luke@lukeyankee.net Photo: Copyright Wilkinson/2022Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

Welcome back to purgatory!!!! This week the boys along with Jo wrap up Stallone month with Dudge Dredd from 1995 Directed by Danny Cannon and staring The Law, Diane Lane, Armand Assante, Rob Schneider, Max Von Sydow, Jurgen Prochnow, Joan Chen and ABC Robot. Thanks for checking us out and if, you like to find out back catalogue go to podbean.com Outro music "Lawmaster Chase" from the SNES Dudge Dredd video game. https://youtu.be/45S5Cts-D4Y  

Hosts Sonia Mansfield and Margo D. wonder why the army couldn't afford drapes and dork out about 1980's PRIVATE BENJAMIN, starring Goldie Hawn and Eileen Brennan.Dork out everywhere …Email at dorkingoutshow@gmail.comSubscribe on Apple PodcastsGoogle PlaySpotify LibsynTune In Stitcherhttp://dorkingoutshow.com/https://twitter.com/dorkingoutshow

Pt. 1 Niall Cassin is a writer and producer from Dublin, Ireland. He spent 10 years working in finance before leaving and worked as a PA on movies such as Deadpool, Planet of the Apes and Power Rangers. But his passion has always been writing and this year he has 3 movies and a TV show he wrote due for release. His new movies: Mister Mayfair, The Spyce of Life, A Song to Kill for and all three mvoies star; Armand Assante (Gotti, American Gangster, Judge Dredd), Steven Bauer (Scarface, Ray Donovan, Traffic) and Ken Davitian (Borat, Get Smart, SWAT). Thank you for listening & supporting the podcast! Please down load the podcast episode. Donations & tips $ :) https://www.buymeacoffee.com/sneakies or https://www.paypal.com/paypalme/anonymouscontent, https://enchantedbooks.godaddysites.com/ Books and merchandise. Please Subscribe to our YouTube:) https://www.youtube.com/user/Fellinijr/videos Subscribe & Support ;) https://tinyurl.com/5h6xkwp9 Other awesome podcasts: Enchanting Book Readings (Top 1%), Thrilling Stories, "Ghostly Stories & Strange Things" & Girl's Guide To Investing. Zombie Diaries: https://youtu.be/tBmgi3k6r9A Subscribe to our YouTube Channel. Buy our books :) Young Adult wizard book series: "Margaret Merlin's Journal" by A. A. Banks at Amazon! :) Margaret Merlin's Journal ~The Battle of the Black Witch ~Book I https://www.amazon.com/Margaret-Merlins-Journal-Battle-Black-ebook/dp/B01634G3CK Margaret Merlin's Journal ~ Unleashing the Dark One ~Book II Science fiction action adventure https://www.amazon.com/Margaret-Merlins-Journal-Unleashing-Dark-ebook/dp/B01J78YH6I Margaret Merlin's Journal ~ The Mask of the Parallel World ~Book III An Adventure in Italy https://www.amazon.com/Margaret-Merlins-Journal-Parallel-World-ebook/dp/B01KUGIZ8W/ Margaret Merlin's Journal ~The Quest for the Golden Key ~Book IV https://www.amazon.com/Margaret-Merlins-Journal-Quest-Golden-ebook/dp/B076FTTDQN Children's Books at Amazon: Jack the Bear and Golden Hair by Sir Herbert Sneakies Skip Boots Big Safari Adventure by Sir Herbert Sneakies Adventures of Mooch the Pooch by Sir Herbert Sneakies Blueber Goober the Monster In My Closet! by Sir Herbert Sneakies https://www.instagram.com/margaretmerlinsjournal/ TikTok: Sneakies Instagram: marylinartist If you would like to be a guest on the show email: jobsmh(@)live.com If you would like to sponsor the show email: mystuffmah(@)gmail.com Thank you for listening. Free music. --- Support this podcast: https://anchor.fm/filmaddicts/support

Pt. 2 Niall Cassin is a writer and producer from Dublin, Ireland. He spent 10 years working in finance before leaving and worked as a PA on movies such as Deadpool, Planet of the Apes and Power Rangers. But his passion has always been writing and this year he has 3 movies and a TV show he wrote due for release. His new movies: Mister Mayfair, The Spyce of Life, A Song to Kill for and all three mvoies star; Armand Assante (Gotti, American Gangster, Judge Dredd), Steven Bauer (Scarface, Ray Donovan, Traffic) and Ken Davitian (Borat, Get Smart, SWAT). Thank you for listening & supporting the podcast! Please down load the podcast episode. Donations & tips $ :) https://www.buymeacoffee.com/sneakies or https://www.paypal.com/paypalme/anonymouscontent, https://enchantedbooks.godaddysites.com/ Books and merchandise. Please Subscribe to our YouTube:) https://www.youtube.com/user/Fellinijr/videos Subscribe & Support ;) https://tinyurl.com/5h6xkwp9 Other awesome podcasts: Enchanting Book Readings (Top 1%), Thrilling Stories, "Ghostly Stories & Strange Things" & Girl's Guide To Investing. Zombie Diaries: https://youtu.be/tBmgi3k6r9A Subscribe to our YouTube Channel. Buy our books :) Young Adult wizard book series: "Margaret Merlin's Journal" by A. A. Banks at Amazon! :) Margaret Merlin's Journal ~The Battle of the Black Witch ~Book I https://www.amazon.com/Margaret-Merlins-Journal-Battle-Black-ebook/dp/B01634G3CK Margaret Merlin's Journal ~ Unleashing the Dark One ~Book II Science fiction action adventure https://www.amazon.com/Margaret-Merlins-Journal-Unleashing-Dark-ebook/dp/B01J78YH6I Margaret Merlin's Journal ~ The Mask of the Parallel World ~Book III An Adventure in Italy https://www.amazon.com/Margaret-Merlins-Journal-Parallel-World-ebook/dp/B01KUGIZ8W/ Margaret Merlin's Journal ~The Quest for the Golden Key ~Book IV https://www.amazon.com/Margaret-Merlins-Journal-Quest-Golden-ebook/dp/B076FTTDQN Children's Books at Amazon: Jack the Bear and Golden Hair by Sir Herbert Sneakies Skip Boots Big Safari Adventure by Sir Herbert Sneakies Adventures of Mooch the Pooch by Sir Herbert Sneakies Blueber Goober the Monster In My Closet! by Sir Herbert Sneakies https://www.instagram.com/margaretmerlinsjournal/ TikTok: Sneakies Instagram: marylinartist If you would like to be a guest on the show email: jobsmh(@)live.com If you would like to sponsor the show email: mystuffmah(@)gmail.com Thank you for listening. Free music. --- Support this podcast: https://anchor.fm/filmaddicts/support

Casper Van Dien came to fame in the breakout role of ‘Rico' who was as the lead in the hugely successful Paul Verhoeven sci-fi film STARSHIP TROOPERS. The film is still one of the most talked about films since it premiered and has one of the largest cult followings in film history. Casper went on to star in the third of the STARSHIP TROOPERS franchise which again was a major success. Casper then went to star in Tim Burton's critically acclaimed film SLEEPY HOLLOW as ‘Brom Bones', and then took on the iconic role of ‘Tarzan' in TARZAN AND THE LOST CITY for Warner Brothers. He was the 20th Tarzan and the only one to ever film in Africa and ride an African elephant. Casper has starred in a number of memorable films including THE PACT which had its premiere at the Sundance Film Festival, where Casper played a down and out alcoholic detective opposite Caity Lotz. A post-apocalyptic survivor in BEYOND THE WAVE which was shot entirely in China. Casper was excited to star opposite Sean Maher as part of a two-man crew on a mission to the end of the universe in the much-anticipated independent film BEYOND THE EDGE. Casper starred in the WWII epic film DOOLITTLE'S HEROES the Chinese/US coproduction of the amazing story about Jimmy Doolittle and his brave men who went on a suicide mission to bomb Tokyo in retaliation for the Pearl Harbor bombing in 1941. Casper can be seen starring in the Fox film ALITA:BATTLE ANGEL for director Robert Rodriguez and producer James Cameron. On television, Casper recently recurs on the series ALL AMERICAN for the CW, guest starred in the CBS hit series HAWAII 5-0, had a great recurring role on the hugely popular series MONK, starred in the popular television film LAKE EFFECTS opposite Jane Seymour, TWELVE TREES OF CHRISTMAS for Lifetime. Casper may also be known for his starring roles in the Spelling series' THE TITANS and the last season of BEVERLY HILLS 90210. Casper has been an early adopter of new media, and he starred as ‘Johnny Cage' in the insanely popular Machinima web-series MORTAL KOMBAT LEGACY seasons 2 and 3 for which he won best actor in a comedy series. He starred as "Hawk Guy" in the Avengers spoof INTERNS OF F.I.E.L.D. produced by Screen Junkies. Casper recurs in the first two seasons of the popular series CONMAN which stars Alan Tudyk and Nathan Fillion, and he played the perfect version of himself in the comedy series CRUNCHTIME. Casper has also spent a lot of time recently behind the camera as a Director. He has directed three films in which he also starred in. His second film PATIENT KILLER won best film and best director awards and was bought and aired on Lifetime. Casper is truly excited about his starring role opposite Stephen Moyer in the sci-fi thriller G-LOC, his starring role in the new series SALVAGE MARINES, recurring in the CW series All American, starring opposite Armand Assante in the film series Mister Mayfair, and starring opposite Ryan Philippe in the action thriller The 2nd. --- Send in a voice message: https://anchor.fm/steven-cuoco/message Support this podcast: https://anchor.fm/steven-cuoco/support

Luke Yankee Has written, directed, produced, taught, lectured and acted throughout the country and abroad. He has run two regional theatres, serving as Producing Artistic Director of the Long Beach Civic Light Opera  and the Struthers Library theatre.Luke's published plays include THE LAST LIFEBOAT and A PLACE AT FOREST LAWN, both published by Dramatists Play Service.   His other plays include THE JESUS HICKEY (which premiered in Los Angeles starring Harry Hamlin) and THE MAN WHO KILLED THE CURE, which had  it's world premiere in Southern California in February 2017. He has also written numerous TV spec scripts and pilots.His book, JUST OUTSIDE THE SPOTLIGHT:  GROWING UP WITH EILEEN HECKART is published by Random House (under the imprint of Back Stage Books), with a foreword by Mary Tyler Moore. Critics have praised it as “One of the most compassionate, illuminating showbiz books ever written.” (Musto, The Village Voice)  It was recently cited by PaperMag as “One of the Ten Best Celebrity Memoirs of All Time.”He has taught and guest directed extensively at colleges, universities and conservatories throughout the U.S. and abroad, including five years at the American Academy of Dramatic Arts, Northwestern, Ohio State, AMDA, Denison, University of New Mexico, the Folkwang Hochschule (in Essen, Germany) and three years on the faculty of Columbia College-Hollywood. He has been a panelist and guest instructor at the William Inge Theatre Festival, where he has performed with Marybeth Hurt, Holland Taylor and George Grizzard. He is also a member of their Advisory Board. He is currently on the faculty of The American Musical and Dramatic Academy (AMDA), teaching advanced acting and scene study.His theatre acting credits include “Our Town” at the American Shakespesare Theatre with Fred Gwynne, the U.S. premiere of “The Greeks” at The Williamstown Theatre Festival with Gwyneth Paltrow, Blythe Danner, Christopher Reeve and Celeste Holm and “The Dream Watcher” with Eva LeGallienne. In film and television, he has appeared in “The Hiding Place” with Julie Harris, “Ragtime” with Elizabeth McGovern, “Evergreen” with Armand Assante and “The Equalizer” with Jim Dale.Luke has studied at the Juilliard School of Drama, New York University, University of California – Riverside, Northwestern University, Circle in the Square and the Herbert Berghof Studio.He is the son of the late Eileen Heckart, who won an Academy Award for “Butterflies Are Free” and appeared in over 15 feature films, 20 Broadway plays, and countless television programs. Ms. Heckart is a member of the Theatre Hall of Fame and a multiple Emmy and Tony Award winner. In her honor, Luke created the Eileen Heckart Memorial Scholarship Fund at Ohio State University, her alma mater.Luke toured internationally for more than ten years with  DIVA DISH, his one-man show about the golden age of Broadway and Hollywood.  There was such demand for a sequel, he  created DIVA DISH: THE SECOND HELPING, which he premiered at the Desert Rose Theatre in Palm Springs.Luke and his husband Don Hill spend time at their homes in Long Beach, CA and Palm Springs, CA.For more info ( including his full Bio) or to contact Luke:  https://yankeehillproductions.comLuke's email is: luke@lukeyankee.net Photo: Copyright Wilkinson/2022Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

In the latest Fortress of Ineptitude, Michael and Louis discuss 1995's Judge Dredd, a much maligned film that's they find surprisingly watchable.

Remember in 2005 when pictures were published of Brad Pitt on an African beach with Angelina Jolie while he was still married to Jennifer Aniston? You'll never guess who tipped off the paparazzi to get that shot. And how you would feel if you fiancé proposed with the ring of his former fiancé? And would you have the keys to your car surgically implanted into your hand? These are the burning questions we answer before things really heat up with our movie of the week, "The Chaos Experiment" (also known as, "The Steam Experiment" depending on where you view it - the sure sign of a quality film.) At "That's Outrageous" we have been neglecting the film canon of our patron saint, Patrick Muldoon for far too long. So when Anne stumbled upon this 2009 film, only available on Amazon, she not only had to see it, she had to buy 2 of the last 5 copies (act fast to get one of those precious remaining 3). Along with Muldoon, the cast includes Kilmer, Roberts (as in Eric, not Julia) and Armand Assante. There's much to discuss about this film that features a mentally disturbed doomsday believer (or is he a scientist?) who throws 6 sexy singles into a steam room to prove that the world is on an irreversible course with annihilation via climate change. I mean, what more could you want from 90 mins? If Kilmer is right and the end of the world is near, you'll want to hear this episode before it's too late! Thank you for listening, crissy & anne --- Send in a voice message: https://anchor.fm/crissy-shropshire/message

Judge Dredd Movie Review from the Salty Nerds have them marveling at just how many times Sylvester Stallone and Armand Assante can shout "LAW" at each other and make "Justice" puns. Judge Dredd from 1995 is a guilty pleasure movie that sees Sylvester Stallone re-team with his Demolition Man co-star Rob Schneider and Diane Lane to uncover a very convoluted conspiracy plot, all while NOT wearing Judge Dredd's iconic helmet. What is your Judge Dredd 1995 movie review? Did you love it? Hate it? Do you randomly shout "LAW" at people? Let us know in our discord server! You can join for free here: http://www.saltynerddiscord.com And if you like our content and want to support the show, consider joining our members area! ▷ SUPPORT THE SHOW: http://www.saltynerdclub.com/ By becoming a Patron of the Salty Nerd Podcast you help us to create great content AND get awesome perks! Check out our Patreon page through the link above for more detail. Thank you! --- Support this podcast: https://anchor.fm/saltynerd/support

This week we are welcoming back friend of the Podcast Joe Higgens from Hallmark of Greatness, Yeah you knew we were going to say that! We're using his library of knowledge on 2000 AD as well as talking long walks and Sticking plastic things to existing guns to make them look futuristic. --- Hallmark of Greatsness is a comedy podcast about the greatest stories of our age, Hallmark and made for TV movies. Listen here  --- Judge Dredd is a 1995 American superhero film[5][6][7][8] based on the 2000 AD comics character of the same name. It is directed by Danny Cannon and stars Sylvester Stallone in the title role, a law enforcement officer in the crime-ridden futuristic metropolis of Mega-City One. The film co-stars Armand Assante, Diane Lane, Rob Schneider, Joan Chen, Jürgen Prochnow, and Max von Sydow. It was filmed entirely at Shepperton Studios in the United Kingdom, and released by Buena Vista Pictures on June 30, 1995. The film takes place in the year 2080 and depicts a dystopian world. Following an unspecified disaster that turned Earth into a "cursed" wasteland, the survivors established a corps of Judges whose role combines that of police, judge, jury and executioner. In Judge Dredd, Dredd, one of the most dedicated Street Judges, has been framed for murder by his own half-brother — the psychotic Rico, who plots to take over Mega-City One with an army of superhuman clones. The film was produced by Charles Lippincott and Beau E. L. Marks, with a screenplay by William Wisher Jr. and Steven E. de Souza. Reviewers criticized the film for its script and perceived lack of originality and faith to its source material, along with Stallone's acting. The film is often considered to be one of Stallone's worst films,[9][10] but its visual style, effects, music score, stunts and action sequences were praised, and the film was nominated for four Saturn Awards. A reboot film, entitled Dredd, was released in 2012.

"I never broke the Law! I AM THE LAW!!" - Judge Dredd (Stallone) Join our Discord  https://discord.gg/jDrUtNcRq2  Join us as Craig and Scott enter the strange and terrifying world of '90s comic book movies. Back in the pre-MCU, pre-Dark Knight, pre-X-Men days when Hollywood clearly had no clue how to deal with these sorts of films. On today's episode from this comic book movie wasteland we look at one of Stallone's most notorious bombs, JUDGE DREDD! Over the course of the episode Craig and Scott talk about how Stallone clearly doesn't get the character or the source material, his many clashes with director Danny Cannon and the silly studio, if understandable, studio decision to have Dredd not have his helmet on for most of the movie. Plus, we get into the films great production design, just how irritating Rob Schneider is in this film and how despite its many flaws the awesomeness Armand Assante (nearly) makes the whole thing worthwhile. Also, we invite you all to get the ball rolling in our bid to see the Cannon cut of this film. #ReleasetheCannonCut

Our contributors to The Convention Collective took to press rooms, exhibition floors and odd corners of San Diego Comic-Con to bring you cool interviews with amazing creatives - we were very lucky to have been invited into exclusive sessions with the people behind of, and starring in, some of your favourite shows, Here, Darren Shulman joined other members of the press to talk to the cast and director on their experiences on the set of a new series, streaming on Crackle - SALVAGE MARINES. The dystopian futuristic series follows Samuel (Van Dien), who works as a factory laborer on planet Baen 6. When Samuel learns that his wife is pregnant, he does the only thing he can to ensure his child will avoid the same societal debt he has – enlist in the planet's military ranks as a salvage marine. Armand Assante also stars in the series alongside Peter Shinkoda. (Deadline)

Our contributors to The Convention Collective took to press rooms, exhibition floors and odd corners of San Diego Comic-Con to bring you cool interviews with amazing creatives - we were very lucky to have been invited into exclusive sessions with the people behind of, and starring in, some of your favourite shows, Here, Darren Shulman joined other members of the press to talk to actor Casper Van Dien about his transition to Executive Producer of a new series, streaming on Crackle - SALVAGE MARINES. The dystopian futuristic series follows Samuel (Van Dien), who works as a factory laborer on planet Baen 6. When Samuel learns that his wife is pregnant, he does the only thing he can to ensure his child will avoid the same societal debt he has – enlist in the planet's military ranks as a salvage marine. Armand Assante also stars in the series alongside Peter Shinkoda. (Deadline)

Well fuck, it's wartime again on Madness Madness. Today we learn about legitimate national hero Chris Noel, who started her work actually supporting the actual troops in a way more useful than car window stickers in Vietnam and never looked back. We also learn about The Hunley!, a Civil War-era submarine that worked about as well as the submarine you picture in your head after hearing the words "Civil War-era submarine." Don't worry, they eventually succeeded in a mission that killed their fourth or fifth crew before sinking for the last time. (It's cool, they were Confederates.) A crucial fact about The Hunley: The 1999 TV movie TNT made about it was exactly the tribute it deserved. [GAAAAAAAASP]

It's Hollywood Time again!  Join us as we review the 1997 TV miniseries, "The Odyssey."  Produced by Hallmark Entertainment and Francis Ford Coppola, the series was highly anticipated.  Was it worth the wait?  Tune in and find out...

The sixth episode of our season on the awesome movie year of 1980 features Josh's personal pick, teen comedy Little Darlings. Directed by Ronald F. Maxwell from a screenplay by Kimi Peck and Dalene Young and starring Kristy McNichol, Tatum O'Neal, Armand Assante, Matt Dillon and Krista Errickson, Little Darlings was a box-office hit that fell into obscurity after being unavailable on home video for many years. The post Little Darlings (1980 Josh's Pick) appeared first on Awesome Movie Year.

Before manbearpig, there was the bear monster from Prophecy. And yeah I already used this joke on Instagram but it's 1 AM and I just want to release the episode. Email us at houseof1000horrors@gmail.com Twitter & Insta: @House1KHorrors

Vincent Pastore on Game Changers With Vicki Abelson I usually know our guests... it's always a little nerve-wracking to meet someone for the first time Live on the air. Before we even hit the interweb airwaves, I felt like I'd known Vinny forever and he was one of my dearest friends. That's a gift. I still can't believe how much fun that was. It seemed with every sentence we were discovering another mutual friend. From Vin's rock n' roll daze, as the purveyor of the Crazy Horse, extra work, Law and Order, Goodfellas, Carlito's Way, scoring a major role opposite Alan Arkin in The Jerky Boys, Gotti, to the game changer, Big Pussy in The Sopranos… stories, stories, stories… James Gandolfini, Michael Imperioli, Steve Schirripa (his cohorts in Conversations with the Sopranos - coming soon to a city near you), Tony Sirrico, Aida Turturro, Al Pacino, Robert Deniro, Cathy Moriarity, Armand Assanti, Tony Danza, Marilu Henner, theatre, his Broadway debut in Bullets Over Broadway (which I saw), Woody Allen, Chicago with Aida Turturro, teaching at HB Studios, studying with Bill Hickey (me too), Gangster Squad, his band, also coming soon to a venue near you, Celebrity Apprentice, One Life to Live, General Hospital, Birthday Cake with Paul Sorvino, streaming now (I'll be watching tonight!), Spinning Gold, about Neil Bogart, and Don Q starring Armand Assante, both in the can, and his upcoming Gravesend, also starring Chazz Palminteri and Fran Drescher, there was what to talk about. Including real-life wiseguys, pizza, and stuff that goes south. I had the best time. Still high, and I ain't smoked in years. That makes one of us. I adore this man. He'll be back! Vincent Pastore on Game Changers With Vicki Abelson Wednesday, 3/23/22, 5 pm PT, 8 pm ET Streamed Live on my Facebook Replay here: https://bit.ly/3iui58f All BROADcasts, as podcasts, also available on iTunes apple.co/2dj8ld3 Stitcher bit.ly/2h3R1fla tunein bit.ly/2gGeItj Also on iHeartRadio, SoundCloud, Voox, OwlTail, Backtracks, PlayerFM, Himalaya, Podchaser, and Listen Notes Thanks to Rick Smolke of Quik Impressions the best printers, printing, the best people people-ing. quikimpressions.com Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for the best tressed. http://www.rubybegoniahairstudio.com/ Blue Microphones and Kevin Walt

In a slow news week reminiscent of the COVID shutdown of Season One, join Joe, Jen, and Tom as they Deep Dive into the wonder that is Elayne Trakand! Learn as Tom explains the secret origin of Face/Off! Be amazed as Joe researches Armand Assante! Get tough as Jen cuts out simping! As always, spoilers abound, as do slow research teams!Please show your support by rating/reviewing us. http://getpodcast.reviews/id/1479634263https://www.talkaranrhiod.com/Email: podcast@talkaranrhiod.comTwitter: @arantalkInstagram: talk_aran_rhiodJoin us on Discord: https://dsc.gg/talkaranrhiodMerch: https://www.newcreationsbyjen.com/collections/talkaranrhiodGet your tickets now: https://wotcon.com/Support the show (https://www.patreon.com/talkaranrhiod)

Zach & Zo visit the big city; in fact, it's a very, very big city. It's not just big it's mega! In fact, it's Mega City One. The pair has to be careful because crime is rampant; it's so bad that the city had to create an entirely new justice system. It's a system where the judges don't sit in courtrooms; they roam the streets. They hear cases at the scene of the crime and they administer instant an instant verdict. They walk into the domain of Judge Dredd!www.backlookcinema.comEmail: fanmail@backlookcinema.comTwitter: @backlookcinemaFacebook: The Back Look Cinema Podcast Instagram: backlookcinemapodcastBack Look Cinema Merch at Teespring.comBack Look Cinema Merch at Teepublic.com

Bill and Joe dive head first into this infernal shithole of a movie to kick off 2022. In a crime plagued future, Judge Joseph Dredd, has the authority to kill criminals on the spot if necessary. When a maniacal ex-Judge Rico frames Dredd for murder, Dredd must set out to clear his name while leaving a trail of destruction and dumb catchphrases. Starring Sylvester Stallone, Armand Assante, Diane Lane and Rob Schneider.

Russ Camarda has been a professional director/actor/acting coach/cinematographer and editor for the past two decades.In FILM Russ has produced, 6 independent feature films, Directed 2, Starred in and edited 5 of them.“Send No Flowers” co-starring in it as well with Sean Young and Tony LoBianco. The film recently secured distribution with Multicom Entertainment Group. “The Night Never Sleeps” co-starring in it as well with Armand Assante, Eric Roberts and Robert Clohessy. The film recently secured distribution with Multicom Entertainment Group.Also the features “Night for Day” , “Lower than the Angels” , “The Video Guys”and the Documentary“Come Hell or High Water” filmed in New Orleans in the immediate aftermath of Hurricane Katrina .IN THEATER he has he has received accolades for performing characters ranging from Stanley Kowalski to Marc Antony from Brick in “Cat on a Hot Tin Roof”, Alfieri in “A View from the Bridge” to Richard III.As a actor and Stage Director his work has been seen in many theaters throughout the NYC-Tri-State area. Russ has directed productions at many area theaters such as Genesis Rep, The Abingdon Theater, The 13th Street Repertory, The Pulse Ensemble Theater, and The Stage Theater. Russ has been trained in acting techniques ranging from Meisner to Method to Practical Aesthetics--the System developed by David Mamet and William H. Macy. Experience which informs all of his work both behind and in front of the camera. On stage and off.Support the show (https://www.patreon.com/quidditasfactor)

Shout out to this listener-submitted request! A completely bonkers crime drama from 2008 starring Busta Rhymes, Sticky Fingaz, Armand Assante, and Tom Berenger's Liquor Face.

In this episode we discuss bumper stickers, fighting, racist standoffs, Armand Assante, Ryhan's horror blog, cookies, cowboys, and variants. Steven Tyler observes an old fashioned horse spectacle.  Follow us on Twitter at @JortsCenterPod Will is @wapplehouse Josh  is @otherjrobbins Ryan is @ryhanbeard Vic is @Dokktorvikktor Dan  is @motleycruedetat Join our Peloton!  https://www.patreon.com/JortsCenter

Keli Price Keli Price award winning Actor/Producer/Writer/Director. Pt. 2 Keli sings & plays guitar acoustically for us! Keli is currently starring in six films 2021 including superhero feature The Hyperions with Cary Elwes. Price plays opposite Elwes as the villain, Ares. He's also starring in Underdogs Rising alongside Chris Pang (Crazy Rich Asians, Charlie's Angels), Infamous Six with Armand Assante, and Reboot Camp with David Koechner, Ed Begley Jr., Eric Roberts, and Ja Rule. Keli is currently playing the role of Kris Harper on the Snap Chat original series, Two Sides, and he just started production on a rom-com alongside Jodie Sweetin (Full House, Fuller House). Price recently directed and produced the feature documentary ‘On Thin Ice' which was recently released by Entertainment Studios Motion Pictures/Freestyle. Price just wrapped a film he wrote/produced and starred in with Danny Trejo, Tobin Bell, and Malu Trevejo. Thank you for listening & supporting the podcast :) https://www.buymeacoffee.com/sneakies https://www.paypal.com/paypalme2/anonymouscontent Funds will go to sound and editing. Paypal (friends & family) petcarebuddies@gmail.com https://www.patreon.com/sneakies Instagram/TikTok @marylinartist LinkedIn: Marylin Hebert Please Subscribe to our YouTube:) https://www.youtube.com/user/Fellinijr/videos Zombie Diaries: https://youtu.be/tBmgi3k6r9A Our books :) Young Adult wizard book series: "Margaret Merlin's Journal" by A. A. Banks at Amazon! :) https://www.instagram.com/margaretmerlinsjournal/ MMJ Book I The Battle of the Black Witch https://www.amazon.com/Margaret-Merlins-Journal-Battle-Black-ebook/dp/B01634G3CK MMJ Book II Unleashing the Dark One Science fiction action adventure https://www.amazon.com/Margaret-Merlins-Journal-Unleashing-Dark-ebook/dp/B01J78YH6I MMJ Book III The Mask of the Parallel World An Adventure in Italy https://www.amazon.com/Margaret-Merlins-Journal-Parallel-World-ebook/dp/B01KUGIZ8W/ MMJ Book IV The Quest for the Golden Key https://www.amazon.com/Margaret-Merlins-Journal-Quest-Golden-ebook/dp/B076FTTDQN Top kids podcast: Enchanting Book Readings https://podcasts.apple.com/us/podcast/enchanting-book-readings-reviews/id1498296670 Other awesome podcasts: Thrilling Stories, Enchanting Book Readings, Girl's Guide To Investing, Legitimately Mallie & The Haunting Dairies of Emily Jane. Support this podcast: https://anchor.fm/girlmogul/support --- Support this podcast: https://anchor.fm/filmaddicts/support

The show begins with a brief sample of the song “The Life” from the book- “The Life”-A true story about a Brooklyn Boy Seduced Into the Dark World of the Mafia which was written by Larry. Did he have any lineage in his family history that were in the Costa Nostra? We touch on Larry's life as a youth that included athletics and what his first career path was. How a bottle of wine and some M&M's changed his life with an affair that ended up with an older woman who was a wife of “The Grim Reaper” Greg Scarpa which was a deadly killer in the mafia. Did he ever think he was getting setup by Greg when he gave his blessing to continue the affair and the Costa Nostra rule of sleeping with a made man's wife. Larry explains how it finally ended. What & how he got him pulled into “The Life”? What did his grandmother say about Greg and was she correct about her feelings? The importance of street smarts to surviving in the mob, being proposed at age 27 to be a made man and was it a requirement to kill someone to get made? The gradual ways he was pulled into committing murder that includes a few stories of his hits. How many did he commit, was part along with the number of conspiracies he was charged with? During the Colombo war, it was kill or be killed that caused Larry to murder Nicky Black that also had a hit out on Larry. After being sentenced to life in prison how did a corruption aid in his sentence being reduced to ten years and learn about Greg Scarpa had been working with the FBI. Which is tighter the Mafia family or your Blood Family? Biggest price he paid for being in The Life, and will his book hit the big screen?Hear about meeting the actor Armand Assante, Robert DeNiro, and others that have led to him being in “The Irishman” and “The Perfect Murder”. We close with the level of happiness he has these days. Links:Get Your Copy –“The Life”- https://larrymazza-thelife.com/Video of the song- The Life: https://www.youtube.com/watch?v=CQidGcMUvVgLarry Mazza IMDB: https://www.imdb.com/name/nm9934975/The Perfect Murder Show: https://www.imdb.com/title/tt3691462/?ref_=nm_flmg_act_Before the Lights Website: https://www.beforethelightspod.com/Follow us on Instagram: https://www.instagram.com/beforethelightspodcast/BTL Merchandise: https://www.beforethelightspod.com/merch Become a BTL Crew Member: https://www.patreon.com/beforethelightsExtra 5Feelings when got out of Costa NostraReason(s) for not being in the witness protection programBookmaking in prison, being a consultant, and how many stamps did he haveSupport the show (https://www.beforethelightspod.com/member-areas)