Podcasts about artisan entertainment

Josh hosts Pappy, Stevie, Mikey and Kylo as they add and subtract all the numbers and finally discover the meaning of pi! ********** Max is a reclusive mathematician who's built a super-computer that will not only provide him with the key to cracking the stock market, but may also reveal the true name of Jehovah; a discovery that could lead to the end of the world. His search however brings him to the attention of both Hassidic priests and Wall Street gurus. Release date: July 10, 1998 (USA) Director: Darren Aronofsky Budget: 134,815 USD, 60,000 USD Screenplay: Darren Aronofsky, Sean Gullette Cinematography: Matthew Libatique Distributed by: Starz Entertainment, Artisan Entertainment

In July of 1999 they were a crucial part of a film that lit up the box office, challenged the rules of conventional story telling, and impacted culture all over the world. 25 years later their true story is told. THE MOVIE CRYPT's special roundtable series continues with this fascinating, heartbreaking, and inspiring conversation with actors Joshua Leonard and Michael Williams from THE BLAIR WITCH PROJECT - one of the most profitable indie films ever made. Though this roundtable was originally being developed to discuss the taboo subject of “Hollywood Accounting,” the focus sharpened after Adam Green found himself at a front row seat to a very candid, honest and private conversation between the BLAIR WITCH cast and co-director Eduardo Sanchez last March in Cincinnati. Shortly after that night, actor Joshua Leonard came to the decision to speak up publicly on social media for the first time about what the experience of being such a significant part of THE BLAIR WITCH phenomenon has REALLY been like. For 11+ years of doing this weekly podcast you've likely heard the phrase “unless your film makes BLAIR WITCH money you'll never see the backend that you've earned” at least a dozen times or more. This conversation shatters that myth and peels back the curtain on a system that is in need of more transparency and fairness. As with all of our special roundtable episodes, this episode is being released publicly in its entirety. Read Joshua Leonard, Michael Williams, and Heather Donahue's interview with VARIETY here: https://variety.com/2024/film/news/blair-witch-project-cast-robbed-financial-success-1236033647/

In this episode of "Don't Kill the Messenger," entertainment research expert Kevin Goetz engages in an insightful conversation with Bill Block, a renowned agent, executive producer, and former studio head. As a producer, Block played a pivotal role in the groundbreaking success of The Blair Witch Project. Block's other films include the Oscar-nominated The Holdovers, Bad Moms, the critically acclaimed Fury, and the upcoming film Here starring Tom Hanks and Robin Wright. The pair delve into Block's remarkable career, the critical role of audience research in filmmaking, and the potential impact of artificial intelligence on the entertainment industry.Bill Block's background and early career (1:47)Bill shares his journey from starting as a secretary at the Irv Schechter agency to becoming a successful agent then moving on to form Artisan Entertainment.The acquisition of Live Entertainment and the success of The Blair Witch Project (7:12)Block shares the story behind the acquisition and distribution of The Blair Witch Project, a groundbreaking film that defied traditional marketing strategies and became a massive success.Using audience research to make decisions on the Halloween franchise reboot (15:37)Kevin and Bill discuss how audience research played a crucial role in the decision-making process for the Halloween franchise reboot.Navigating the complexities of film financing (24:37)Kevin and Bill discuss the financial deals behind Oliver Stone's W., Bad Moms, and Jason Statham action films.Bill's insights on packaging and financing independent films (35:39)Block discusses the importance of attaching talent, securing presales, and finding the right equity partners to fill the financing gap. Block touches on films he has been involved with like Bad Moms, Fury, and Guy Ritchie's The Gentleman.The potential impact of AI on the entertainment industry (41:19)Bill and Kevin explore the rapidly advancing world of artificial intelligence and its potential to disrupt the entertainment industry.Bill Block's extensive experience, combining financial expertise with respect for the audience, makes him an invaluable voice in the entertainment industry. His insights into the evolving landscape of film financing, distribution, and the integration of artificial intelligence demonstrate his ability to navigate the complexities of the business. His stories and observations, shared in this engaging conversation with Kevin, offer a fascinating glimpse into the future of filmmaking. If you enjoyed this episode, please leave us a review or connect on social media. Next Guest:  Greg Foster, Former CEO of IMAX EntertainmentHost: Kevin GoetzGuest: Bill BlockProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoFor more information about Bill Block:IMDB: https://www.imdb.com/name/nm1088848/Wikipedia: https://en.wikipedia.org/wiki/Bill_BlockLinkedIn: https://www.linkedin.com/in/bill-block-ba3525104For more information about Kevin Goetz:Website: www.KevinGoetz360.com46s Film Making 46s: Filmmakers talk origins, challenges, budgets, and profits.Listen on: Apple Podcasts Spotify

THIS IS A PREVIEW. FOR THE FULL EPISODE, GO TO Patreon.com/worstofall Anne Huston (Caveat NYC) joins Brian and Josh to do battle with the Slender Man and other monsters from 2009's viral YouTube horror series Marble Hornets. Their journey takes them from semi-incoherent college memories to the content cornucopia of the Something Awful Forums, Reddit, and early YouTube: reminders of an internet where people could create freely without extreme commercial pressure. They also talk a lot about something called Ong's Hat. Hope you had a happy Halloween! Anne Huston is the General Manager at Caveat, a cabaret comedy theatre located on the Lower East Side of Manhattan. Want more TWOAPW? Get access to the rest of this episode, our full back catalogue of premium and bonus episodes, and add your name to the masthead of our website by subscribing for $5/month at Patreon.com/worstofall! Media Referenced in this Episode: Marble Hornets Season 1 dir. Troy Wagner and Joseph DeLage (independent, 2009). Full playlist on YouTube The Blair Witch Project dir. Daniel Myrick and Eduardo Sánchez (Artisan Entertainment, 1999). BoxOfficeMojo // Letterboxd // TMDB Ted's Caving Page on angelfire.com “Ong's Hat: The Early Internet Conspiracy Game That Got Too Real” by Jed Oelbaum. Gizmodo, February 21, 2019. The Wyoming Incident Original Upload on YouTube The "Wyoming Incident" discussion thread on the Something Awful Forums Max Headroom 1987 Broadcast Signal Intrusion Incident on YouTube Create Paranormal Images thread on the Something Awful Forums

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

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

DeFiance Media is a video news platform that provides coverage of decentralized culture, technology, and finance. It was founded by CEO, Marc Scarpa in 2021.   Scarpa is well known as an innovator in participatory broadcasts. He was the founder of JumpCut in the 1990s which was known for producing Woodstock 99, three of the Tibetan Freedom Concerts, and Artisan Entertainment's Blair Witch WebFestival. Earlier in his career, he was the New York Bureau Chief for CNET TV. He also worked for YouTube, Olgilvy and Global Environment Media.   In today's discussion, Scarpa talks about the idea behind launching a new live news media broadcaster, native to the web but also leveraging over-the-top broadcast distribution channels directly to consumer televisions. He also goes into detail about what it takes to launch the world's first  virtual human newscaster, Roxanna. He also goes into detail about what he has learned after 1,500 broadcasts led by a digital persona, and how that complements the dozens of human broadcasters on the network. 

Peter Billingsley has been a member of the Hollywood community since he was a small child, achieving success and accolades, both behind the scenes and in front of the camera. The highly-successful child actor-turned-producer received an Emmy Award nomination, in 2005, as co-executive producer on the critically acclaimed Independent Film Channel show, Dinner for Five (2001), with Jon Favreau. He also served as executive producer on the hit summer film, The Break-Up (2006), and recently wrapped production on Marvel Comics feature film, Iron Man (2008), directed by Jon Favreau. Billingsley also served as co-producer on the Artisan Entertainment classic, Made (2001), starring Jon Favreau and Vince Vaughn, as well as Sony's recent science fiction release, Zathura: A Space Adventure (2005), directed by Favreau. Billingsley recently became a principal in "Wild West Picture Show Productions". The production company, founded by Vince Vaughn, currently has a first look production deal with Universal Studios. Growing up in the public eye, Billingsley began his acting career, at the age of three, in some of the '70s most memorable television commercials. After appearing on numerous television shows and films during his youth, the Emmy Award-nominated actor delivered a performance for the ages in the beloved holiday film, A Christmas Story (1983). Playing humorist Jean Shepherd's youthful alter-ego "Ralphie", Billingsley's repeated requests, in the film, for a genuine Red Ryder B-B gun quickly catapulted the actor to instant stardom and has since driven the film into pop culture lore as the classic modern-day Christmas tale. Born in New York City, Billingsley currently resides in Los Angeles. Learn more about your ad choices. Visit megaphone.fm/adchoices

This time on Medieval Death Trip, we celebrate Black Friday weekend with some black magic in our belated Halloween anniversary episode. We look at a couple of quite different medieval witches, a Cornish wildwoman from the Life of St. Samson and the famous Witch of Berkeley, as well as a report of a night-hag from the 18th century. Today's Texts - William of Malmesbury. Chronicle of the Kings of England. Edited by J.A. Giles, translated by John Sharpe and J.A. Giles, George Bell & Sons, 1895. Google Books. - The Liber Landavensis, Llyfr Teilo, or the Ancient Register of the Cathedral Church of Llandaff. Edited by W.J. Rees, William Rees, 1840. Google Books. - Burnett, George. Specimens of English Prose-Writers from the Earliest Times to the Close of the Seventeenth Century, with Sketches Biographical and Literary, Including an Account of Books as Well as of Their Authors; with Occasional Criticisms, etc. Vol. I, Longman, Hurst, Rees, and Orme, 1807. Google Books. - Sprenger, James, and Henry Kramer. Malleus Maleficarum. Originally published 1486. Translated by Montague Summers, 1928. Sacred-Texts.com. Audio Clips: - The Tragedy of Macbeth. Directed by Joel Coen. Apple Studios, 2021. - The Witch. Directed by Robert Eggers. A24, 2015. - The Witches. Directed by Nicholas Roeg. Warner Bros., 1990. - The Blair Witch Project. Directed by Daniel Myrick and Eduardo Sánchez. Artisan Entertainment, 1993. - Suspiria. Directed by Dario Argento. Produzioni Atlas Consorziate, 1977. - Monty Python and the Holy Grail. Directed by Terry Gilliam and Terry Jones. EMI Films, 1975. - The Wizard of Oz. Directed by Victor Fleming. MGM, 1939. - Clash of the Titans. Directed by Desmond Davis. United Artists, 1981. - Young Frankenstein. Directed by Mel Brooks. 20th Century Fox, 1974. Additional Music Credit: Ludwig van Beethoven, Coriolan Overture, composed in 1807 (the same year Burnett published his Specimens of English Prose Writers), and performed by the Musopen Symphony (CC-PD). Chapters 00:00:00: Introduction 00:04:54: Movie witchlore montage 00:10:12: Introduction, cont. 00:14:00: Text: from the Malleus Maleficarum 00:21:10: Introduction, cont. 00:23:24: Text: from The Life of St. Samson in the Book of Llandaff 00:27:44: Commentary 00:45:36: Text: from William of Malmesbury's Gesta Regum Anglorum 00:51:50: Commentary 01:04:21: Text: from George Burnett's Specimens of English Prose Writers 01:09:40: Commentary 01:11:38: Mystery Word: baggaged 01:17:03: Outro

Here it is! Our final episode covering Artisan Entertainment and we close out with FELICIA'S JOURNEY (1999)! We discuss Egoyan, TV's Felicity, "Mambo No. 5," CROSSROADS, our lasting impressions of Artisan and what our next miniseries will be. Twitter: @AlmostMajor Kevin: @kevbonesy on Twitter/Letterboxd Bryden: @BrydenDoyle on Twitter + @JDoyle on Letterboxd Charlie: @ctnash91 on Twitter/Letterboxd

What is the New York Women in Film and Television or NYWIFT and how can they be a resource to you right now? Maybe funds or grants for your next film? Or a community to network? Or do you need your next DP or Director for a project? Join me and the ladies of NYWIFT to discuss what NYWIFT can offer and their podcast 'Women Crush Wednesdays" highlighting some incredible people in Film and Television. Katie Chambers is a communications executive and event producer with a lifelong commitment to supporting artists and advocating for inclusion. She is currently the Senior Director of Community and Public Relations for New York Women in Film & Television (NYWIFT), where she manages both Communications and Membership and produces Special Events. The preeminent entertainment industry association for women in New York, NYWIFT energizes the careers of women in media by illuminating their achievements, providing training and professional development opportunities, and advocating for equality. Katie guides and manages NYWIFT's presence both online and off; institutes membership drives; produces and moderates monthly screenings and networking parties; builds partnerships with like-minded organizations; implements communications initiatives for special projects, including The Writers Lab funded by Meryl Streep, Nicole Kidman, Cate Blanchett, and Oprah Winfrey; and is strategic advisor to the Board and Executive Director in regards to Communications, Membership, and Public Affairs Initiatives. Janine McGoldrick is a veteran entertainment executive who has created and implemented strategic distribution and publicity campaigns for numerous studios and clients including HBO, Cohen Media, Universal Pictures, Artisan Entertainment, Lionsgate, BBC, and New Line to help launch some of the most exciting releases in film, television and home entertainment -- including the 2017 Academy Award-winner The Salesman. Currently, through her company 2nd Chapter Productions, she works as an entertainment strategist and is developing the documentary film Unheard: The Ears of Meniere's. Guests NYWIFT Instagram Website Podcast Host: Instagram: @MentorsontheMic @MichelleSimoneMiller Twitter: @MentorsontheMic @MichelleSimoneM Facebook page: https://www.facebook.com/mentorsonthemic Website: www.michellesimonemiller.com Youtube: https://www.youtube.com/user/24mmichelle

In today's episode, we are speaking with Lynne Braggs, an award-winning and innovative marketing professional specializing in Brand Management, and Founder of Braggology.Lynne has helped turn my idea for a solo lactation private practice into a booming, multi-provider, award-winning, super fast-growing, profitable business. So as a special treat to all my #bossladies, Lynne has given us some of her precious time and is sharing some of her insider tips to help you figure out where to focus your resources when starting or growing a business.Lynne has over 15 years of experience in marketing and sales management in areas such as healthcare, sports, entertainment, real estate, and agency experience.Within the healthcare space, Lynne was responsible for developing strategy, marketing communications, brand, sales, and field engagement for DaVita Rx a subsidiary of DaVita, one of the largest dialysis healthcare providers in the US. In addition, she was the National Multicultural Consultant for American Heart Association.While residing in Los Angeles, Lynne acquired an extensive background in the entertainment industry. She has held positions at Artisan Entertainment, New Line Cinema, Sony, and E! Entertainment. At Artisan Entertainment (now known as Lions Gate) she developed and executed a home entertainment marketing plan for their most successful release, The Blair Witch Project.Lynne holds an MBA with a concentration in marketing from the University of Texas in Austin and is also a graduate of Howard University in Washington D.C where she majored in Chemical Engineering. She previously sat on the board of Women and Film and Television as VP of Communications in Atlanta, GA. Website: https://www.braggology.com/Instagram: https://instagram.com/braggologyFacebook: https://www.facebook.com/braggology/Get your FREE Newborn Feeding Cheatsheet -->https://www.milkdiva.com/newbornfeeding

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1482969576170090498 CW: Suicide, Hate Crimes, Police Brutality It's Candyman Week on Pod Sematary! Chris & Kelsey dip their toes into the race discussion before immediately admitting that they don't have the expertise required to discuss it with any authority. It's fun! The Classic Film: Candyman: Day of the Dead (1999) "The Candyman is back, trying to convince his descendent, an artist, to join him” (IMDb.com). Candyman 3—following another location change to Los Angeles this time—isn't good, but it isn't as bad as you might think. It's certainly no Farewell to the Flesh. The Modern Film: Candyman (2021) "A sequel to the horror film Candyman (1992) that returns to the now-gentrified Chicago neighborhood where the legend began” (IMDb.com). This new Candyman is an updated take on race relations in America and tries to adapt the Candyman mythos to its modern setting, mostly successfully. It's compelling and beautifully shot if not at all scary. Audio Sources: "The Candy Man" written by Leslie Bricusse & Anthony Newley and performed by Sammy Davis Jr. "Candy Man (Instrumental)" produced by Stage & Screen Music Ltd "Candyman" (2021) produced by Monkeypaw Productions, et al. "Candyman: Day of the Dead" produced by Artisan Entertainment & Aurora Productions "Fill Me with the Gobi Desert" (from "Glorious") written and performed by Eddie Izzard "Jsu Garcia ALS IceBucket Challenge & Nomination" via MSIA LiveOnline @ https://www.youtube.com/watch?v=zkfyRXsATDc "The Mask" produced by New Line Cinema & Dark Horse Entertainment "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Urban Legend" produced by Phoenix Pictures, et al.

Welcome to Almost Major! A movie pod discussing the mini-major studios and the films they released! We start our first miniseries about the films released by Artisan Entertainment with STIR OF ECHOES (1999)! We discuss how Artisan came to be, how THE SIXTH SENSE killed STIR OF ECHOES, how this movie is in love with THE SHINING and everything in between. Twitter: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠AlmostMajor⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Kevin: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠kevbonesy on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bryden: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠BrydenDoyle on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ + @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JDoyle on Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Charlie: @⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ctnash91 on Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠ (An updated version of this episode with better audio levels + edits was uploaded on 4/29/2023)

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1422239314688155655 CW: Homophobia, Rape, Suicide It's Wishmaster Week on Pod Sematary! Chris & Kelsey wish they were wrapping up this franchise, but it turns out there's even more after this! The Classic Film: Wishmaster 2: Evil Never Dies (1999) "The evil Djinn is awakened once more and must collect 1,001 souls to begin the Apocalypse” (IMDb.com). Unlike the original Wishmaster, which was a lot of fun, this sequel seems like it's trying to actively avoid every opportunity for the coolest kills. The Modern Film: Wishmaster 3: Beyond the Gates of Hell (2001) "The evil Djinn is back at again, this time wreaking havoc on the students of Illinois' Baxter University” (IMDb.com). The one saving grace of Wishmaster 2 was that Andrew Divoff was at least still in it. He is not in part 3. Audio Sources: "Bitch" (Key and Peele S01E01) produced by Monkeypaw Productions, et al. "Drag Queens and Goth People" (from The Top Part) written and performed by John Mulaney "Let's Go to the Hop" (Family Guys S02E14) produced by Fuzzy Door Productions, et al. "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Wishmaster 2: Evil Never Dies" produced by Artisan Entertainment "Wishmaster 3: Beyond the Gates of Hell" produced by Artisan Entertainment, et al.

Welcome back to our ongoing Guilty Pleasure's bonus series! A series we begun as part of our friends Bloodhound Pix #HorrorNotFear campaign which has now ended. But the show rolls on now that we are a firm fixture at the Morbidly Beautiful network. So expect to keep getting your monthly dose of 21st Century horror guilty pleasures! […]

During episode 351, host B.L. Ochman interviews Tom Herman, Vice President of Business Development for AirCarbon Pte Ltd about reducing climate change by gamifying non-fungible tokens (NFT) of carbon offsets. Tom brings over 20 years of executive experience starting companies and leading product development teams. He currently serves as the Vice President of business development for AirCarbon Pte Ltd, a Singapore based commodities exchange built on blockchain for carbon trading. He was the CEO and co-founder of DashBid Media, a video advertising exchange in New York City and the 2nd fastest growing company in NYC in 2015. Tom also served as COO of JumpTV where he built operations for streaming over 200 live linear TV stations leading up to JumpTV’s IPO. In addition to carbon trading, he has built platforms and exchanges for the travel, real estate, video advertising, and streaming media industries. Tom’s career began in Boston, MA and has ranged from Indonesia, the Caribbean, and Latin America to Singapore where he currently resides with his family. Tom was featured in the 2020 Artisan Entertainment movie Startup.com about the formation of govWorks during the dot com bubble. Video, Show Notes & Links: https://beyondsocialmediashow.com/351 Connect with the show on social media Subscribe to the weekly eNewsletter

Quantum Quote:  “Make the journey the reward.” - Tom Herman   We all need to reduce our carbon emissions by becoming more efficient and using renewable clean energy. But, at the end of the day, most of us will still be stuck with aspects of our lives that hinder us from being 100% carbon neutral, and it will take civilization decades to reduce 300 years of carbon emissions.    Do you want to lower your carbon footprint, but aren't sure how to get beyond the basics?    Carbon offsets reduce or capture the carbon that would otherwise be released into the atmosphere, or take specific amounts of carbon out of the environment. With the right carbon offset projects, we can begin to counter balance our carbon footprints and support projects that actually reduce the carbon that is fueling extreme weather events around the globe.    Tom Herman is AirCarbon Pte Ltd's Vice President for business development and the Founder of Meta Carbon, as well as a father and an experienced entrepreneur, mountaineer, and software architect. He is passionate about working with carbon offsets and how it promotes clean and renewable energy, regenerative agriculture, and other carbon-reduction activities. Tom was also the CEO and co-founder of DashBid Media and COO of JumpTV – both of which contributed positively to the industry with DashBid Media being the 2nd fastest growing company in NYC in 2015 and JumpTV having streaming operations in over 200 stations. Tom was also featured in the 2020 Artisan Entertainment movie Startup.com that covered the birth and failure of dotcom govWorks.   For over 20 years, Tom has journeyed the world, starting companies and leading product development teams. He first learned about carbon offsets through AirCarbon's Founders Will Pazos and Thomas MacMahon. With fungible blockchain tokens, Air Carbon is transforming a market that is currently fragmented, opaque, and disorganized - bringing transparency and liquidity to carbon trading and creating the basis for exponential worldwide carbon reduction.   Sign up for a free webclass to discover how easy it is to get ultra-efficient geothermal heating and cooling installed in your home – without the pain of emptying your savings account.   In “The Power Of Earth With Comfort” From Climate Master webclass, you'll discover the answers every homeowner needs to know, including:   How geothermal heating and cooling can draw energy from the ground beneath our feet (for pennies) Why homeowners everywhere are making the switch The secrets to securing utility incentives and tax credits to pay for a large portion of your new geothermal system   and much more…   If you tired of rising energy costs and want to save up to 70% on your energy bills, Go to www.AWESomeEarthKind.com and register now for this FREE special event that will show you exactly how to get geothermal heating and cooling installed in your home We'd like to hear from you! Please help us understand how AWESomeEarthKind can help you achieve your clean energy goals – and you'll automatically be entered into a Sweepstakes for a Free LED Light Fixture:   SEND YOUR FEEDBACK TODAY SuperNova #1. If you're buying carbon offsets, make sure to understand how much of the money you spend actually goes to the project that's developing the carbon offset.    SuperNova #2. I frequently have people say that carbon offsets are just an excuse to continue to emit carbon, but I don't agree with that. I think we need an all-of-the-above strategy to address climate change. That means every company – every individual – needs to work to the best of their ability to reduce their carbon footprint.   SuperNova #3. Storing carbon in the soil through agricultural processes is probably the biggest near-term opportunity for humanity.    Worst Career Moment: “I've spent most of my life travelling the world. I've lived in various countries, and travelled to dozens of other countries. I now know that the carbon consequence of all this travel is really substantial, and so I need to rethink how I travel, where I travel. This is a sad reality for me, but it's also important for everyone.” – Tom Herman   Aha! Moment: “I was reading this morning about a company called Planetary Hydrogen that makes hydrogen gas as an energy source, and they are making it through a really cool process that uses renewable energy. They do it in a way that addresses ocean health and captures carbon, and basically puts it into the equivalent of sea shells - which is what the ocean naturally does. Planetary Hydrogen has ways to make energy that are good for the environment.” – Tom Herman   Best Advice He's Ever Received: “If you're gonna do something anyway, you might as well do it with a smile.” – Tom Herman   Personal Habit that Contributes to Success: “I would say reading voraciously, although not books, mostly trade journals and articles, and running. Mindful meditation is important. My mindful meditation is running.” – Tom Herman   Book Recommendation: The New Map by Daniel Yergin    Magic Wand: “A super high density, low weight battery solution that is not environmentally damaging to produce, or a miniature fusion energy production system that allows us to produce massive amounts of energy without environmental impact.” – Tom Herman   WTF or F: “On a sailboat off the coast of Columbia. It was supposed to be a day trip, but we ended up having to anchor in a mangrove forest near a relatively isolated island, sleep there overnight and wait for the weather to clear.” – Tom Herman   Most Energized About Today: “I am most energized about the increasing pace of change. I find it so exciting and so energizing to see how many new technologies and how many new ideas are coming up and being spread far and wide over the internet around the world everyday.” – Tom Herman   Connect: LinkedIn: https://www.LinkedIn.com/in/tomherman  Website: www.AirCarbon.co Email:  Tom@meta-carbon.co  

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1366152370258903047 CW: Mental Illness, Miscarriage It’s Blair Witch Week on Pod Sematary! Chris & Kelsey spend a night (or five) in the Black Hills Forest and stumble across some DV tapes with Blair Witch movies on them. The Classic Film: Book of Shadows: Blair Witch 2 (2000) "A group of tourists arrives in Burkittsville, Maryland after seeing The Blair Witch Project to explore the mythology and phenomenon, only to come face to face with their own neuroses and possibly the witch herself” (IMDb.com). Producers capitalize on the next new thing, The Blair Witch Project, by immediately making a sequel that has none of the elements that made the original popular. Imagine how that turned out. The Modern Film: Blair Witch (2016) "After discovering a video showing what he believes to be his vanished sister Heather, James and a group of friends head to the forest believed to be inhabited by the Blair Witch” (IMDb.com). See, this is how you make a Blair Witch sequel. It ain't superb, but it's certainly not sacrilege. Audio Sources: "Anything Could Happen" written by Ellie Goulding & Jim Eliot and performed by Ellie Goulding "Blair Witch" (2016) produced by Lionsgate, et al. "Book of Shadows: Blair Witch 2" produced by Artisan Entertainment & Haxan Films "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones

Join us for this fun episode of the Tipping Point. Tonight on the show we have Comedian, columnist and owner of Artisan Entertainment, Mike Elis. we are chatting about all things comedy, the industry and we have a big surprise at the end of the show. --- Send in a voice message: https://podcasters.spotify.com/pod/show/joann-johnson/message

Welcome to the "Captain Groovy and the Final Girl" Podcast In this episode Captain Groovy takes a look at "Book of Shadows: Blair Witch 2" released in 2000 by Artisan Entertainment. This was the sequel to one of the highest grossing independent film in theaters. This film it follows a tour group that go searching for the clues about the Blair Witch. IMDB Credit: https://www.imdb.com/title/tt0229260/reference Movie Trailer: https://youtu.be/rxANWqgmsFc --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1181763562881994752 CW: Suicide, Rape It’s Satanic Thriller Week on Pod Sematary! Chris & Kelsey make a deal with the devil (Kelsey got a new puppy in exchange for Chris’ soul). Thanks for recommending The Ascent, Peter! The Classic Film: The Ninth Gate (1999) "A rare book dealer, while seeking out the last two copies of a demon text, gets drawn into a conspiracy with supernatural overtones” (IMDb.com). One of many satanic thrillers from the late 90s and early 00s, The Ninth Gate tries and mostly fails to pull off the tone of The Omen but with a modern edge, but is there something there to enjoy anyway? The Modern Film: The Ascent (2017) "Veteran LAPD detective Henry Cardenas faces off against his toughest murder suspect yet, Vince Marins, who claims to be something other than human. Over the course of 24 hours, truths, both new and long-buried, will be revealed” (IMDb.com). This amateur-feeling attempt at a cool concept feels like it would be better off as an intimate, one-act play instead of a micro-budget, feature-length movie that the filmmakers seem ill-equipped to pull off. Audio Sources: “The Ascent” produced by The Ascent Movie, LLC “The Ninth Gate” produced by Artisan Entertainment, et al. "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Tom Segura: Completely Normal" produced by 3 Arts Entertainment & New Wave Entertainment Television

It’s Summer Vacation Week on Pod Sematary! Chris & Kelsey party in the sun and make mistakes that will literally haunt them a year from now! The Classic Film: I Know What You Did Last Summer (1997) “Four young friends bound by a tragic accident are reunited when they find themselves being stalked by a hook-wielding maniac in their small seaside town” (IMDb.com). Acting as a sort of bridge between Scream and the generation of teen slashers that followed, I Know What You Did Last Summer is an incredibly cheesy but still endearing classic of horror's timeline. The Modern Film: Club Dread (2004) "When a serial killer interrupts the fun at the swanky Coconut Pete's Coconut Beach Resort--a hedonistic island paradise for swingers--it's up to the club's staff to stop the violence...or at least hide it" (IMDb.com). A highly underrated entry in the comedy/horror sub-genre, Club Dread is a future cult classic that you shouldn't let cruise by. Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1142896168742993920 Audio Sources: "Bill & Ted's Excellent Adventure" produced by De Laurentiis Entertainment Group, et al. "Club Dread" produced by Broken Lizard Industries, et al. "I Know What You Did Last Summer" produced by Mandalay Entertainment & Summer Knowledge LLC "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Summertime" written and performed by DJ Jazzy Jeff & The Fresh Prince "Way of the Gun" produced by Artisan Entertainment & Aqaba Productions "Who Killed Kaitlyn?" (Unsolved Mysteries S05E15) produced by Cosgrove/Meurer Productions

CW: Sexual Assault, Suicide, Ableism It's Kevin Bacon wee--I mean It's another Haunted House week on Pod Sematary! This time, Chris and Kelsey are talking about two movies where a man is driven to madness by the spirits in his home, including a recommendation from listener Aaron! The Classic Film: House (1985) "A troubled writer moves into a haunted house after inheriting it from his aunt" (IMDb.com). Would you have guessed by this description that the movie was a comedy? We certainly didn't. The Modern Film: Stir of Echoes (1999) "After being hypnotized by his sister-in-law, a man begins seeing haunting visions of a girl's ghost and a mystery begins to unfold around him" (IMDb.com). Even though Kathryn Erbe's Maggie drives Chris up a wall, Kevin Bacon's great performance more than makes up for it. Plus, another Supernatural Check-in! Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1120499524546572291 Audio Sources: "Carry On Wayward Son" written by Kerry Livgren and performed by Kansas "Cheers" produced by Charles/Burrows/Charles Productions & Paramount Television "G.I. Joe (Theme Song)" written by Johnny Douglas and performed by Jonathan Kimmel "House" produced by New World Pictures & Sean S. Cunningham Films "The Itchy & Scratchy & Poochie Show" (The Simpsons S08E14) produced by Gracie Films & 20th Century Fox Television "Kevin Bacon Superfan" commercial produced for the Logitech Revue with GoogleTV @ https://www.youtube.com/watch?v=jx0D3zag0gc "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "Poltergeist" produced by Metro-Goldwyn-Mayer, et al. "The Shining" produced by Warner Bros., et al. "Stir of Echoes" produced by Artisan Entertainment "Theme from The Greatest American Hero (Believe It or Not)" written by Mike Post and Stephen Geyer and performed by Joey Scarbury

Sarah Sheehy is the Senior Director, Government and Public Affairs at the Hollywood Burbank Airport. Sarah attended undergrad at Santa Clara University Sarah's first internship was at the White House in the Office of Public Liaison She then interned at the Tonight Show with Jay Leno After the Tonight Show, she had a Fellowship with the Panetta Institute, and then worked for Congressman Brad Sherman After graduating from college, Sarah shifted to the entertainment industry, and got her first job at Artisan Entertainment, which later became Lions Gate  She then moved to Miramax helping to run Oscar campaigns After that, she moved on to get her Masters in Public Policy at UCLA, and took classes with Michael Dukakis Her first political job was with the Los Angeles Unified School District, and she then moved on to a campaign consulting firm, followed by Cerrell and Associates After a stint with Mattel, Inc., she ended up in her current position with the Hollywood Burbank Airport  Help us grow! Leave us a rating and review - it's the best way to bring new listeners to the show.  Have a suggestion, or want to chat with Jim? Email him at: Jim@theLobbyingShow.com Follow The Lobbying Show on Facebook, Instagram, and Twitter for weekly updates about the show, our guests, and more.

Patrick Lee is the co-founder and former CEO of Rotten Tomatoes, a leading entertainment website focused on movie reviews and news and one of the top 500 most trafficked sites in the world. Sold to IGN Entertainment June 2004. He's also the co-founder of Hobo Labs, his current focus, where they make guild-based casual mobile games. In the past he also co-founded and ran Design Reactor, an internet marketing firm focused on the entertainment industry. Clients included Disney, ABC, Warner Bros., and Artisan Entertainment, among others.   This show is sponsored by Experiment 27. Get the sales and service agreement (free client contract template) Experiment 27 uses to close business HERE. [$1,000 value]   In this episode you'll learn: [01:30] What goes into a good mobile game  [02:03] What is surprising about launching a mobile game [03:25] What is Patrick most passionate about [05:35] How did Patrick secure an investment for his business [06:10] How to think about growing a company [08:00] How did Patrick get Disney as a client [15:00] Why Patrick never pursued a career in entertainment [16:10] How Patrick manages risk at his current company [18:20] How to know when to move on [20:57] How to test business concepts [23:30] How to communicate the vision to your employees Links mentioned: Hobo Apps Patrick on LinkedIn Patrick on Twitter Patrick on Instagram Brought to you by Experiment 27. Find us on Youtube.   If you've enjoyed the episode, please subscribe to the Digital Agency Marketing Podcast on iTunes and leave us a review for the show.   Get access to our FREE Sales Courses.

Action Movie Anatomy hosts Ben Bateman and Andrew Ghai break down 2004's The Punisher! The Punisher is a 2004 American vigilante action film based on the Marvel Comics character of the same name, starring Thomas Jane as the antihero Frank Castle / The Punisher and John Travolta as Howard Saint, a money launderer who orders the death of Castle's entire family. The story and plot were mainly based on two Punisher comic book stories; The Punisher: Year One and Welcome Back, Frank along with scenes from other Punisher stories such as Marvel Preview Presents: The Punisher #2, Marvel Super Action Featuring: The Punisher #1, The Punisher War Zone, and The Punisher War Journal. The Punisher was shot on location in Tampa, Florida, and surrounding environs in mid- to late 2003. It was distributed by Lions Gate Entertainment in North America, although Artisan Entertainment, which produced a 1989 film adaptation of The Punisher, financed and co-distributed th --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Ever felt like the speed of life can strip away quality of life? Social media historian, Allison Graham, takes on all things tech...including the downsides like internet addiction, technology addiction, and cell phone addiction. Allison is a graduate of Southern Methodist University and has worked all over the country and globe bringing the written word to life on the big screen. She has worked for Artisan Entertainment, Universal Studios, Paramount Pictures, Warner Brothers, New Line Cinema, 20th Century Fox, Miramax and Dreamworks SKG as Assistant Director, Production Manager, and Producer working with such titans as Jerry Bruckheimer, Michael Bay, Timur Bekmamvetov and Tim Burton. She was one of the key business strategists behind The Blair Witch Franchise marketing campaigns, leading the team responsible for revolutionizing the way the Internet and film marketing were viewed. Allison also gave a landmark TED talk entitled, "How Social Media Makes Us Unsocial." Learn more about author and host, Sarah Raymond Cunningham, at sarahcunningham.org.  

Artisan Entertainment and Haxan Films wasted no time releasing a sequel to The Blair Witch Project. Intending to capitalize on the first film’s huge success they rushed Book of Shadows: Blair Witch 2 for release while the original film was still part of the cultural zeitgeist. The sequel goes meta as we watch a group of fans of the original film take a pilgrimage to some of its filming sites when strange things begin to happen and some of the team go missing. Despite being directed by acclaimed documentary filmmaker Joe Berlinger Blair Witch 2 never escaped the original’s shadow and has been mostly forgotten. Does Book of Shadows conjure up scares to match the original? Join Arnie, Stuart, and Jakob to find out!

With Blade a cinematic success Artisan Entertainment brought another R-rated Marvel property to the big screen--The Punisher. Starring Thomas Jane in the title role and John Travolta as bad guy gangster Howard Saint, this adaptation remained closer to the character's comic book portrayal, putting him in his signature skull outfit and with a story based on Garth Ennis' acclaimed Welcome Back Frank story. But this film was punished by most critics, only to find its audience on DVD. Is this film justice for our hero, or punishment for the viewer? Listen as Jakob, Arnie, and Stuart are here to live once more, or die once more, or review once more and find out! {Punisher Series} {Marvel Series} {Comic Book Movie Series}

With Blade a cinematic success Artisan Entertainment brought another R-rated Marvel property to the big screen--The Punisher. Starring Thomas Jane in the title role and John Travolta as bad guy gangster Howard Saint, this adaptation remained closer to the character's comic book portrayal, putting him in his signature skull outfit and with a story based on Garth Ennis' acclaimed Welcome Back Frank story. But this film was punished by most critics, only to find its audience on DVD. Is this film justice for our hero, or punishment for the viewer? Listen as Jakob, Arnie, and Stuart are here to live once more, or die once more, or review once more and find out!

With Blade a cinematic success Artisan Entertainment brought another R-rated Marvel property to the big screen--The Punisher. Starring Thomas Jane in the title role and John Travolta as bad guy gangster Howard Saint, this adaptation remained closer to the character's comic book portrayal, putting him in his signature skull outfit and with a story based on Garth Ennis' acclaimed Welcome Back Frank story. But this film was punished by most critics, only to find its audience on DVD. Is this film justice for our hero, or punishment for the viewer? Listen as Jakob, Arnie, and Stuart are here to live once more, or die once more, or review once more and find out!

With Blade a cinematic success Artisan Entertainment brought another R-rated Marvel property to the big screen--The Punisher. Starring Thomas Jane in the title role and John Travolta as bad guy gangster Howard Saint, this adaptation remained closer to the character's comic book portrayal, putting him in his signature skull outfit and with a story based on Garth Ennis' acclaimed Welcome Back Frank story. But this film was punished by most critics, only to find its audience on DVD. Is this film justice for our hero, or punishment for the viewer? Listen as Jakob, Arnie, and Stuart are here to live once more, or die once more, or review once more and find out!