Podcast appearances and mentions of Bernard Rose

Trente-troisième épisode de Vanishing Point, le podcast itinérant qui vous invite à voyager sur les routes imaginaires du Cinéma, sans gps ni direction assistée, avec comme seule boussole : notre passion, nos échanges et nos envies. Piloté par Mad, Ben et Franck. Les films abordés dans cet épisode : 00:01:24 : Skip générique (on juge pas promis) 00:04:12 : Child's play, Tom Holland (1988) 02:14:14 : Candyman, Bernard Rose (1992) 04:33:41 : BLINDTEST - To forgive, The Smashing Pumpkins 04:40:30 : The Breakfast Club, John Hughes (1985) Les réponses au blindtest précédent (Épisode 32 - Podcast of the dead) sur sur l'OST de L'enfer des zombies (Lucio Fulci) : White Zombie, Re-animator, [Sarko on t'emmerde], The serpent and the rainbow, Braindead, Shaun of the dead, Evil Dead II, ... Rejoignez-nous sur les réseaux sociaux : BLUESKY : https://bsky.app/profile/vpointpodcast.bsky.social DISCORD : https://discord.gg/mDgZZd6Czj FACEBOOK : https://www.facebook.com/podcast.vanishingpoint INSTAGRAM : https://www.instagram.com/vanishingpoint_podcast/ TWITTER : https://twitter.com/vpoint_podcast Et sur votre plateforme de podcasts préférée ! Abonnez-vous

Dare to say his name five times in the mirror? Bernard Rose's 1992 horror classic Candyman continues to haunt our nightmares with its perfect blend of urban legend, racial commentary, and genuine terror.We journey through the decaying hallways of Chicago's notorious Cabrini-Green housing project alongside Virginia Madsen's Helen, a graduate student whose research into urban legends leads her to the horrifying truth behind the hook-handed killer. As we dissect this influential film that scored 79% on Rotten Tomatoes, we explore how the tragic origin story of Daniel Robitaille transforms what could have been a standard slasher into a haunting meditation on America's racial history and the power of belief.From the unforgettable performance of Tony Todd (who earned $1,000 for each of his 23 bee stings during filming!) to Philip Glass's ethereal score and those disturbingly realistic practical effects, we examine why Candyman remains so effective three decades later. The infamous bathroom scene still makes our skin crawl, while the film's social commentary feels more relevant than ever.Whether you're a longtime fan who can't look in mirrors without anxiety or a curious newcomer wondering if this classic holds up against modern horror, our deep dive reveals why Candyman transcended its slasher roots to become a genuine horror milestone. The hook-handed killer's legacy extends far beyond its three sequels, influencing everything from Jordan Peele's 2021 sequel to how we understand the intersection of horror and social issues.Follow us on Instagram @ScreamStreamPod and visit ScreamsAndStreams.com for more horror film discussions that will keep you up at night. Say our name five times and subscribe wherever you get your podcasts! Head to www.screamsandstreams.com for more information related to our episode.

Join Jacki and Marissa as they explore Candyman (1992) and Candyman (2021). They dive into the academic discourse surrounding these films They talk race and feminism in both films, and reflect on the power of racial tensions as they relate to this moment in history. They also, of course, warn of the dangerous urban legends, from sewer alligators to Jersey Devils and rat dogs. We used so, so many articles and papers to back her thoughts on these films, so here's her Works Cited: Blood Is Sweeter than Honey: Blackness and Subversive Utopia in Bernard Rose's Candyman by Annette Lepique A Critique of Black Capitalism in an American Horror Film by Kaela Buchana and Yasmine Guy Candyman and Horror's Dubious Reckoning with Racism by David Jesudason Candyman is a definitive Black Lives Matter Horror by David Sexton History, Collective Memory and More in 'Candyman' by Black Horrific How 'Candyman' Fails Black Women and Femmes by Jessica Lanay In Candyman, White Supremacy is the Real Bad Guy Lurking in Shadows by Dr. Allison Wiltz Learn more about your ad choices. Visit megaphone.fm/adchoices

In Episode 485,  Jose and Ed Martinez talk about Fangoria Weekend of Horrors 1992 when Clive Barker introduced Bernard Rose and they teased the then upcoming movie, Candyman.  A great blast from the past.  This is the Clive Barker Podcast, where long-time fans Ryan and Jose interview guests, bring you the news, and take deep dives into Barker-related stuff. Ryan was not available for this episode. .  Sponsors and Patreon: 3m 27s Sponsor : Don Bertram's Celebrate Imagination | Pinterest | ETSY Store Check out his recent painting “The Conversation III” on Facebook Don Bertram painted a guitar that will be raffled off in March to support the Texas Children's Cancer Center Check out his newest video on Youtube: Detailing Bess Cutler Gallery Prints, recently made public from our Patreon.  Sponsor : Ed Martinez YouTube Channel Special Mention: Our Friends making an Audio Drama Podcast:  Patreon Members Shout-Out (Become a Patron) David Anderson Erik Van T' Holt Daniel Elven Amanda Stewart Bradley Gartz Markus Returning Sponsor: Don Bertram's Celebrate Imagination  Brand New Sponsor, Ed Martinez YouTube Channel What's New for our Patreon Subscribers  Feature: Hellraiser game from Color Dreams Collector's Corner 4: Hellraiser Revelations Discussion: Fangoria Weekend of Horrors 1992 Clive Barker Bernard Rose Show Notes Episode 483 Hellraiser Vs Nightbreed Vs Candyman and True Crime Episode 406 An Interview With Bernard Rose Paperhouse on Youtube News From the Reef Coming Soon From Trick Or Treat Studios Candyman Products on Trick or Treat Studios Hellraiser Inferno Box Nightbreed Products The New York Toy Fair takes place March 1st through 3rd The Temple of the Killer Tiger Monkeys Coming Next Jericho Squad 77 Continues Book Club of Blood : In the Hills The Cities More News & Interviews Commentary: Wishmaster web www.clivebarkercast.com Apple Podcasts,  Android,  Amazon Music, Spotify, Pandora, Libsyn, Tunein, iHeart Radio, Pocket Casts, Radio.com, and YouTube and Facebook: | BarkerCast Listeners Group | Occupy Midian  BlueSky | Reddit | Discord Community Support the show Buy Our Book: The BarkerCast Interviews Occupy Midian  Hardcover | Kindle | Apple Become a Patreon Patron | Buy a T-Shirt Music is by Ray Norrish All Links and show notes in their Entirety can be found at https://www.clivebarkercast.com

You can now text us anonymously to leave feedback, suggest future content or simply hurl abuse at us. We'll read out any texts we receive on the show. Click here to try it out!Welcome back to Bad Dads Film Review! Today, we're taking a deep dive into Samurai Marathon (2019), a visually stunning period film directed by Bernard Rose. Inspired by historical events, this film blends samurai action, political intrigue, and themes of honor and perseverance into a gripping cinematic experience.Set in feudal Japan during the 1850s, Samurai Marathon is based on real events that led to the creation of Japan's first marathon. The film follows Lord Itakura (Hiroki Hasegawa), a daimyo who, fearing the influence of American arrivals, organizes a long-distance race to train his samurai for potential conflict. However, due to a misunderstanding, the shogunate interprets this as an act of rebellion, sending assassins to crush the supposed uprising.Caught in the middle of this unfolding chaos is Jinnai Karasawa (Takeru Satoh), a shogunate spy embedded within Itakura's ranks. As the marathon unfolds, Jinnai realizes that his duty may have unintended consequences, forcing him to make a choice between blind loyalty and doing what is right. Meanwhile, other runners, including the daimyo's strong-willed daughter Yuki (Nana Komatsu), battle their own struggles—both physical and personal—during the race, turning what begins as a test of endurance into a fight for survival.At its heart, Samurai Marathon is about adaptation and resilience. The Edo period was a time of transition, and the characters in the film must grapple with the shifting tides of history. Whether it's Jinnai questioning his allegiance, Yuki fighting against societal expectations, or the samurai pushing their limits in the race, the film reminds us that true strength comes from the ability to endure and evolve.If you love samurai films with a twist, Samurai Marathon is a refreshing addition to the genre. With a strong cast, a compelling story, and a unique historical backdrop, it's a film that's both entertaining and thought-provoking.Join us as we lace up our sandals and run through the details of Samurai Marathon! Whether you're here for the thrilling action or the deeper historical themes, there's plenty to appreciate in this epic tale of endurance.

On this episode of The Movies Made Us Do It, Durs and Matt discuss Bernard Rose's Candyman (1992) Find links to all of our shows here: Linktr.ee/DursProductions #Candyman #TonyTodd #BernardRose #VirginiaMadsen #XanderBerkeley #dursproductions #dursproductionspodcasts #filmpodcast #moviepodcast #moviereview #filmreview

RIP Tony Todd. In honor of the Candyman himself, we decided it was high time we tackled a classic Gothic slasher that we've put off for too long. In this episode, we discuss the complex themes of gentrification, systemic racism, and seduction at play in Bernard Rose's Candyman. We also discuss who wins in the battle between Candyman and Bloody Mary - or is it Helen? We're drinking Saranac's newly revitalized White IPA on this episode! Approximate timeline 0:00-10:00 Intro 10:00-20:00 Beer talk 20:00-end Candyman Next up: our Thanksgiving episode! --- Support this podcast: https://podcasters.spotify.com/pod/show/bloodandblackrum/support

[Note: these Movie Mindset Horrortober Season 1 episodes were already unlocked for free this year over on the Patreon feed, just adding them to the public feed to make them more widely available. To get every Movie Mindset episode, subscribe at patreon.com/chapotraphouse.] In this final episode of this year's Ghoulvie Screamset, Will & Hesse take a look at Michael Wadleigh's “Wolfen” (1981) and Bernard Rose's “Candyman” (1992). Two films taking advantage of real urban environments the horrors of city life, from the intrusion of primordial natural evil in Wolfen, to manifesting the everyday horror of urban poverty in Candyman. Thanks for listening to our second outing of Movie Mindset! Will & Hesse will be back next year with a full season 2 of the series. Let us know if there's anything you're dying for us to cover, and stay watchin' everybody.

Sweets for the sweet

A (relatively) in-depth analysis of the pop band Frankie Goes To Hollywood in just under thirty minutes.Goes to Hollywood signed to ZTT Records in 1983. Their debut album, Welcome to the Pleasuredome was released in 1984. Produced by Trevor Horn, it achieved advance sales of more than a million, and their first three singles, Relax, Two Tribes and The Power of Love, reached number one on the UK singles chart.Their second album, Liverpool was released in 1986. The album sold fewer copies, and they disbanded acrimoniously the following year. Holly Johnson successfully sued ZTT to leave his contract and began a solo career. He declined invitations to reunite and attempted to block the band from using the Frankie name. In 2004, the group reunited without Holly Johnson and Brian Nash to perform at a Prince's Trust charity concert, with Ryan Molloy on vocals, and underwent a subsequent tour in 2005. In 2011, ZTT reissued an expanded edition of Liverpool, plus The Art of the 12", a compilation of tracks from ZTT artists including Frankie Goes to Hollywood. Universal Music purchased ZTT in 2017. The group reunited with Johnson and Nash for the first time since 1987 to perform for the 2023 Eurovision Song Contest.Holly Johnson and Paul Rutherford were openly gay throughout the group's existence, making Frankie Goes to Hollywood the first openly gay major pop act, with gay rights and sexuality becoming a theme of their music and performances. The BBC famously banned them from broadcast, which only generated further publicity.It has been reported that a Frankie Goes to Hollywood biographical film is in development, based on Johnson's memoir. Bernard Rose, who was responsible for the Relax music video, is set to direct, with Callum Scott Howells as Johnson.In this episode I am in conversation with Dr. Andrew Webber.I hope you enjoy the podcast and do leave feedback if you like what you have heard.Mathew Woodall

31 Days of Horror: Day 27 Of all the toughs Bernard Rose could've picked, he went with Ted Raimi. I guess being from across the pond, the motorcycle riding, leather jacket-wearing bad boys he's used to are of the shrimpy variety. https://www.nickkarner.com/blog 

Say their name multiple times. Sarah Watt, Jeremy Downing and William Chen discuss Candyman (1992) and Beetlejuice Beetlejuice (2024), as well as Beetlejuice (1988). We start by sharing our experiences and reactions to watching Candyman, including the key imagery and ideas that stand out. We praise the score from Phillip Glass, the writing work of Clive Barker, the direction and vision from Bernard Rose, and the commendable acting work and charisma of Virginia Madsen and Tony Todd. We then discuss Beetlejuice (1988), with Sarah watching it for the first time for this episode, which then moves into our reactions and experiences to watching Beetlejuice Beetlejuice (2024). We talk about the connections between the two films and how we seem to connect films in more surprising ways than we initially realise. We discuss the wider state of "Legacy-quels" and the repeated trope of the grown-up lead as a sad parent. We talk about the urban and suburban exploration in both films and how it mines the fears of modern-day audiences.

Is Candyman (1992) the Best Horror Film of the 90s?In this video, we dive deep into *Candyman* (1992), a chilling horror film directed by Bernard Rose and adapted from Clive Barker's short story "The Forbidden" in his *Books of Blood* series. We'll explore how the film takes Barker's dark tale and expands it into a visually haunting and socially charged narrative. From Tony Todd's unforgettable performance as the iconic Candyman to the film's eerie exploration of urban legends, race, and fear, we'll break down what makes this movie a horror classic. Is *Candyman* just a slasher, or is there something deeper beneath the surface? Tune in for our in-depth review and analysis!If you like our content then please like, share, subscribe and give us a review. 

Citizen Kane meets Amadeus, but is Gary Oldman going to be enough to get us through Bernard Rose's period biopic? Presented by J.R. Southall, with Jon Arnold and Matt Barber

Bryan and Joe return to zero in on Clive Barker's short story The Forbidden (from Books of Blood Vol. 5) and its two film adaptations: Bernard Rose's 1992 film Candyman and Nia DaCosta's reimagining/remake/sequel from 2021.We spend a lot of time discussing community and urban legends, whose stories are being told, and who is the intended audience for each iteration (hint: it's *always* white people).Wanna connect with the show?> Bryan: @eviltaylorhicks (Instagram/BlueSky)> Joe: @bstolemyremoteMusic Credit: Hellraiser Theme by Christopher YoungCheck out Anatomy of a Scream Pod Squad for more great content and the other Network pods Hosted on Acast. See acast.com/privacy for more information.

Ellen E Jones and Mark Kermode take a deep dive into the cinematic subconscious to explore dreams in film and television. Mark talks to Sandra Hebron, psychotherapist and head of screen arts at the National Film and Television School, about the origins and history of dreams in film.He also speaks to director Bernard Rose, best known for his 1992 film, Candyman. They discuss his debut film, Paperhouse, and how it portrays the blurred lines between reality and dreams.Taking a look at everything from The Sopranos to The Big Lebowski, Ellen investigates some of film and TV's most memorable dream sequences with help from film critic, Anne Billson.Ellen then speaks to independent film director, Tom DeCillo, whose 1995 film, Living in Oblivion sought to subvert the clichés of the cinematic dream sequence.Producer: Queenie Qureshi-Wales A Prospect Street production for BBC Radio 4

Veteran filmmaker Julia Verdin is a multi-hyphenate - she is known as an accomplished producer, award-winning Director and has written a number of screenplays. Having been in the film business for 30 years, Julia has established herself as one of Hollywood's leading independent producers, with over 36 critically acclaimed feature films produced to date. She founded and has been running Rough Diamond Productions since 1995.Some of the memorable, acclaimed theatrical releases and top film festival favorites Julia has produced, includes 2 Jacks, directed by Bernard Rose: the film starred Danny Huston, Jack Huston, Sienna Miller, Jacqueline Bisset, and Billy Zane; Stander, directed by Bronwen Hughes starring Thomas Jane, Deborah Unger, Dexter Fletcher, and David O'Hara; Sony Pictures Classics released The Merchant of Venice, directed by Michael Radford, starring Al Pacino, Jeremy Irons, and Joseph Fiennes; and Riding The Bullet based on a Stephen King story, directed by Mick Garris, and starring David Arquette, Jonathan Jackson, Erica Christensen, and Barbara Hershey. Julia's faith-based film, The Least Among You was a Lionsgate release, starring Lou Gossett Jr., Lauren Holly, and William Devane, and featured in major festivals, being nominated for two N.A.A.C.P awards. Julia also Executive Produced the 2015 Lionsgate release Born of War, directed by Vicky Jewson, starring James Frain and Sophia Black D'Elia.Julia's films have been selected for many major film festivals including Sundance, Toronto, Venice, AFI, Raindance, Vancouver International, and London. As a director, her former acting background has given her the tools to support her actors and bring out amazing performances, and her producing background enables her to stay on budget while bringing out the best creative results.

Are you brave enough to say his name five times?Join us as we discuss Bernard Rose's incomparable 1992 classic, Candyman, starring the legendary, Tony Todd.Brought to you by your hosts, Ruth and DP.Please support us by following us on any (preferably all) of our social media platforms. It really means the world to us!Instagram: https://www.instagram.com/didyougetthatonfilm/Facebook:https://www.facebook.com/didyougetthatonfilm/Youtube:https://www.youtube.com/@DidYouGetThatOnFilmWebsite:https://didyougetthatonfilm.buzzsprout.comArt by Sebastian Westbrook (@Spwestbrookart on Instagram and Facebook)

One of the most noteworthy slashers of its period, Candyman centers upon a Chicago semiotics student (Virginia Madsen) who blunders into the wrath of a supernatural folklore spirit (Tony Todd). Based on a Clive Barker short story that uses ghosts to symbolize income inequality in Liverpool, writer/director Bernard Rose moved the setting to Chicago and gave the narrative a subtext that comments on American racism. Ryan is joined by Rachel for a lengthy discussion about this atmospheric, moody, and complicated film. While citing a handful of the extensive academic commentary done on Candyman, Ryan and Rachel remark upon how Candyman was made, the contemporary reactions to the film, and how its storytelling reflects America's relationship with urban decay, affordable housing, policing, superstition, symbolism, segregation, stereotype, and the white savior trope. --- Support this podcast: https://podcasters.spotify.com/pod/show/ryan-valentine3/support

In this episode, Wellington and Savon are back to discuss the Bengals beating the Bills, Philadelphia getting past Dallas again and C.J. Stroud's stellar rookie start. Next up, they analyze the dominance of the Ravens, the Chiefs winning in different ways and Alabama's Jalen Milroe getting more comfortable, and their win vs. LSU plus the breaking news of Jim Harbaugh's three-game suspension due to the sign-stealing scandal. For their NBA topics, they highlight OKC's impressive start to the season, Milwaukee's regression, and the Mavericks clicking on all cylinders. In the second half, Wellington and Savon are joined by first-time guest Joe Pizzolato, a guitarist who has played for Kelly Price, Hans Williams, and The Shady Recruits to review Butcher Browns's new album Solar Music and The Alchemist's Flying High, Part 2 EP. They also discuss their disappointment and lack of interest in the new Jeezy double album and review Arin Ray's Phases III EP. Finally, they give their personal R&B Mount Rushmore, review Benny the Butcher and Lil Wayne's "Big Dog" single and Yebba's new single "Waterfall (I Adore You)".In the last half, Wellington and Savon review the original Candyman, the 1992 supernatural horror film, written and directed by Bernard Rose and starring Virginia Madsen, Tony Todd, Xander Berkeley, and Kasi Lemmons. They start off by discussing how this was an effective, chilling tale that had an interesting premise. They also analyze how the plot had narratives that keep the viewer hooked, it perfectly incorporating social issues and it having the perfect balance between mystery and gore. 

Candyman is a 1992 American gothic supernatural horror film, written and directed by Bernard Rose and starring Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons, and Vanessa E. Williams. Based on Clive Barker's short story "The Forbidden", the film follows a Chicago graduate student completing a thesis on urban legends and folklore, which leads her to the legend of the "Candyman", the ghost of an African-American artist and the son of a slave who was murdered in the late 19th century for his relationship with the daughter of a wealthy white man. Skeptical graduate student Helen Lyle (Virginia Madsen) befriends Anne-Marie McCoy (Vanessa Williams) while researching superstitions in a housing project on Chicago's Near North Side. From Anne-Marie, Helen learns about the Candyman (Tony Todd), a knife-wielding figure of urban legend that some of her neighbors believe to be responsible for a recent murder. After a mysterious man matching the Candyman's description begins stalking her, Helen comes to fear that the legend may be all too real. BlackBusters is a podcast focused on reviewing, celebrating, re-living and critiquing Black film. From the movies we all know and love to those hidden gems, there is no movie too big or small to be praised or roasted. Join our hosts Director/Comedian/Actor @biggjah and movie/podcast connoisseur Tony Price as they explore the legacy, impact and influence of Black cinema. Learn more about your ad choices. Visit megaphone.fm/adchoices

Candyman - Episode 266: This podcast is the writing on the wall, the whisper in the classroom. Without you listeners we are nothing. So now, we must shed innocent blood. Candyman. Candyman. Candyman! Your hosts are covering another Spooktober classic as they cover the horror movie classic Candyman on Normies Like Us! Come back to us, Listeners! @NormiesLikeUs https://www.instagram.com/normieslikeus/ @jacob https://www.instagram.com/jacob/ @JoeHasInsta https://www.instagram.com/joehasinsta/ @MikeHasInsta https://www.instagram.com/mikehasinsta/ https://letterboxd.com/BabblingBrooksy/ https://letterboxd.com/hobbes72/ https://letterboxd.com/mikejromans/

In this episode we explore the Candyman urban legend, as brought to you by Bernard Rose in 1992, starring Tony Todd and Virginia Madsen, based on the novella, The Forbidden by Clive Barker. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

The Spoop Bois kick off Halloween 2023's "Season of Spoop" covering urban legend themed films! They start by discussing 1992's "Candyman" written and directed by Bernard Rose with guest and friend of the show Kelly Sherman. They talk about Tony Todd's iconic role in comparison with other horror greats, the sociopolitical issues and how they relate to modern times, and whether or not there are elements that have aged poorly. They also get into the original Clive Barker story, examples of urban legends, and many other topics and aspects of the film. Kelly is the writing on the wall, the whisper in the classroom. Aaron and Derek are just a rumor, it is a blessed condition. Support us on Patreon: https://www.patreon.com/WatchIfYouDare We are on PodBean, Apple Podcasts, Podchaser, Goodpods, Amazon Music, Google, Stitcher, Spotify, and CastBox. Please rate, review, subscribe, and share our show. Also, check out our Spotify Music playlist, links on our Twitter and Podbean page. Our socials are on Facebook, Twitter and Hive @WatchIfYouDare

In today's episode, we celebrate Dee's birthday with a review of one of her favorite horror films, the original Candyman, released October 16, 1992, directed by Bernard Rose.  Please follow us on Instagram @itsastrangeworldpodcast, Twitter@PodStrangeWorld, and on Facebook and TikTok @ It's A Strange World After All! If you love the show, give us a 5 star rating and write a review. We would love to hear from you! What did you think of this week's episode? If there is anything in the world of strange or true crime cases that you would like us to cover, let us know. If you have any personal stories involving true crime or the supernatural, we want you on the show. --- Support this podcast: https://podcasters.spotify.com/pod/show/its-a-strange-world-after-all/support

If you say Spooky Season 5 times in a mirror, nothing happens, but you might just hear the feint voices of Max and Spencer discussing a classic horror movie. That also might be because you left this episode playing on your phone. Either way, they discuss Max's first time watching the slasher classic from the minds of Bernard Rose and Clive Barker, and the iconic performances of Tony Todd and Virginia Madsen. They discuss the social and racial commentary it makes (both positively and negatively), get into what the white savior trope means, and discuss all the gruesome details of what makes this movie stand out amongst the rest.

This week we are thrilled to rebroadcast one of our favorite episodes with one of our all time favorite guests. To celebrate the release of The Blackening, one of our new all time favorite comedy horror films, we're revisiting one of our earliest episodes with the amazing Dewayne Perkins. Some monsters live up to their legends while others may simply be misunderstood just wandering this world looking for someone to listen. Today's guest helps us shed light on the latter. You can follow Dewayne Perkins on Twitter at https://twitter.com/DewaynePerkinsAnd you can see The Blackening in theaters now https://www.theblackening.movie/ --SHOW INFORMATION Twitter: @MyDeadNeighborsInstagram: @MyNeighborsAreDeadEmail: MyNeighborsAreDead@gmail.com Patreon: https://www.patreon.com/myneighborsaredeadMerchandise: TeePublicSubscribe: Apple PodcastsSubscribe: Spotify

The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth. Directed by Bernard Rose Written by Bernard Rose @thedeadlightspod

We explore the urban legend of the one and only CANDYMAN! Bernard Rose and Clive Barker set the stage in 1992 and Nia DeCosta and Jordan Peele fleshing out the entire journey for one of Horror's greatest slashers of all time! 

Watch out for the Hot Topic gang and the Tardis-shed! It's our 4th audio commentary, Candyman 3: Day of the Dead. We're still enduring a living Hell on Earth, as we watch the movie that did what no one else could–kill Candyman. Edit: We're briging back this Commentary Classic from 2016 to give it a proper podcast number, and we're in a Candyman state of mind with our recent interview with Bernard Rose.

TAKE ANOTHER LOOK UNDER THE BED AND DOUBLE-CHECK THE CLOSET, BECAUSE THERE'S NOTHING SCARIER THAN BEING A CHILD!   What could possibly be worse than zombies, chainsaw-wielding maniacs, and blood sucking vampires? Puberty, bullies, cruel teachers, stranger danger, and childhood illness, of course. Join Gabe and returning guest Betsy Jorgensen of Your Favorite Monsters as they take a look at a group of traumatizing tales of horror made specifically for people under 12. Not horror movies for grown-ups featuring kids or horror movies that happen to be rated PG or PG-13 – movies intended for children that are also intended to be scary. Our little collection includes Michael Rubbo's The Peanut Butter Solution (1985), Bernard Rose's Paperhouse (1988), Mario Piluso's The Halloween Tree (1993), and Hideyuki Hirayama's Haunted School (aka: Ghost School Stories, 1995).   00:00 – Intro 04:59 – The Peanut Butter Solution 30:47 – Paperhouse 54:59 – The Halloween Tree 1:15:50 – Haunted School 1:37:09 – Outro (and Little Monsters)   If you are in a position to make the world a better place, please consider the following fundraisers: Dallas Hope Charities (LGBTQ+ homeless youth charity): https://secure.givelively.org/donate/dallas-hope-charities Equality Florida: https://www.eqfl.org/ Atlanta Solidarity Fund: https://atlsolidarity.org/ Donations 4 Abortions (state by state abortion funds): https://donations4abortion.com/funds-by-state

n episode 406 Jose, Ryan and Ian are joined by writer/director Bernard Rose, and we talk about Candyman and many other aspects of his life and career.  Thanks to Ian for helping us put this together.  This episode is available as both an audio podcast and video on YouTube.  Sponsor: Don Bertram's Celebrate Imagination.   Interview with Bernard Rose Show Notes Bernard Rose on IMDB Bloody Disgusting interview re: Candyman 2 The Midnight Meat Train Shakespeare Quotes: Sweets to the Sweet Woman murdered by man coming through mirror Chicago Reader: They Came Through The Bathroom Mirror Frankie Goes to Hollywood – Relax Paper House Trailer Samurai Marathon on Pluto.TV FRANKENSTEIN on YouTube Films & TV Travelling Light for rent at YouTube Films & TV Trailer: Immortal Beloved Chris R Notarile “The Bride of Candyman” Frankie Goes to Hollywood story to hit big screen after reunion (May 10 BBC.com) Arrow Candyman Release Coming Next  A-Z Commentaries: Z is for Zombie (Day of the Dead)  More Classic Commentaries More Jericho Squad 77 And this podcast, having no beginning will have no end.  web www.clivebarkercast.com iOS App| Android App, Apple Podcasts, Google Podcasts, Android, Stitcher, Spotify, Pandora, Libsyn, Tunein, iHeart Radio, Pocket Casts, Google Play, Radio.com, DoubleTwist and YouTube and Join the Occupy Midian group Twitter: @BarkerCast| @OccupyMidian  Opening Music is by Ray Norrish End Credits Music by Matt Furniss

WoHos! This week Mac's Picks were Urban Legends movies. We reviewed CANDYMAN 1992 & La Llorona, from Guatemala.Leave a voicemail on our Google Voice: 336-663-3018!https://linktr.ee/WorldofHorrorComing up on the main show:Our Willem Dafoe / Robert Eggers special: THE LIGHTHOUSE & THE NORTHMANMom's Picks: Anthology Films: V/H/S & 3 EXTREMES 2Mac's Picks: Possession Films: THE EXORCIST & THE WAILINGComing up on the Quinnisode:A CLOCKWORK ORANGE & THE PARALLAX VIEWSTRANGERS ON A TRAIN Interstitial Music Works is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.https://creativecommons.org/licenses/by-nc/3.0/Theme by Charles Michel "Aqui"Interstitial MusicKumiko (edited)Coma-Media

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.

A sweet man travels through time to invite you to be immortal and love him forever…will you bee his victim? Join us as we cover the Casanova of carnage in 1992's Candyman. ****CONTENT WARNING: racial violence Follow us on Instagram at @thewhorrorspodcast Email us at thewhorrorspodcast@gmail.com Artwork by Gabrielle Fatula (gabrielle@gabriellefatula.com) Music: Epic Industrial Music Trailer by SeverMusicProd Standard Music License Works Referenced: A BRIEF HISTORY OF CANDYMAN'S THEMES AND ORIGIN STORY by Tai Gooden: https://nerdist.com/article/history-candyman-themes-origin-story/ Candyman IMDB: https://www.imdb.com/title/tt0103919/trivia/ Candyman Wiki: https://en.wikipedia.org/wiki/Candyman_(1992_film) Taking a Look in the Mirror: The Inversion of Middle-Class Fears of Urban Decay and the Representation of Racial Violence in Bernard Rose's Candyman by Jacob Garrett: file:///C:/Users/shann/Downloads/Taking+a+Look+in+the+Mirror+(Final).pdf

There have been plenty of unmade sequels out there that would have likely been better than the sequels we DID get. From Elm Street to Halloween, the lesser idea has won out time and time again. And you would think that the return of the original screenwriter would result in absolute gold. But what we got instead was anything but, so join us as we dive into Bernard Rose's Candyman: The Midnight Meat Train.

If you like your movies to blur the lines between reality and dreams than you're gonna dig our new episode where we talk Candyman director Bernard Rose's 1988 flick Paperhouse!

Hey Friends,"Your death will be a tale to frighten children, to make lovers cling closer in their rapture. Come with me, and be immortal."Brian Adams joins us to watch Bernard Rose's/TriStar Pictures' 1992  horror classic "Candyman" in which Tony Todd cements himself as an icon of horror with a far more impactful first film than most other supernatural slashers. Released:October 16, 1992Featuring: Bob Rudenborg, Jon MarekSpecial Guest: Brian AdamsEditing: Jon MarekTheme: Brian Adams-Winchester Ghosts: https://winchesterghosts.com/Find Us Across the Web: https://www.thebutchandthebi.com/links

Horror month concludes with a couple of grizzly slashers about the horrors of American city planning and murder weapons that you can get at your local hardware store! Representing the arthouse is Abel Ferrara's new wave, grindhouse nightmare, The Driller Killer. And representing the mainstream is Bernard Rose's 1992 supernatural slasher, Candyman. Which movie will enter the canon and which movie will enter the trash canon, never again to be watched by Joe or Brett?!? It's a mad painter versus a man made of bees in this thrilling conclusion to the Weekend at Bergman's horror movie month! NEXT WEEK: Synecdoche, New York vs Click JOIN US EVERY MONDAY NIGHT ON TWITCH 8PM ET: https://www.twitch.tv/foreverdogteam   VIDEO & AD FREE EPISODES ON FOREVER DOG PLUS https://foreverdog.plus   THE COMPLETE CANON & TRASH CANON ON LETTERBOXD: https://letterboxd.com/weekendbergman/lists   FOLLOW JOE ON LETTERBOXD: https://letterboxd.com/joecilio   FOLLOW WEEKEND AT BERGMAN'S https://twitter.com/weekendbergman https://www.instagram.com/weekendbergman https://www.tiktok.com/@weekendbergman   BUY MERCH https://www.teepublic.com/user/weekend-at-bergmans   WEEKEND AT BERGMAN'S IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/weekend-at-bergmans Learn more about your ad choices. Visit megaphone.fm/adchoices

Candyman is a 2021 supernatural slasher film directed by Nia DaCosta and written by Jordan Peele, Win Rosenfeld, and DaCosta. The film is a direct sequel to the 1992 film of the same name and the fourth film in the Candyman film series, based on the short story "The Forbidden" by Clive Barker. The film stars Yahya Abdul-Mateen II, Teyonah Parris, Nathan Stewart-Jarrett, and Colman Domingo with Vanessa Williams, Virginia Madsen and Tony Todd reprising their roles from the original film. 1000 stickers for $79 ONLY at this link www.riotstickers.com/frumess - the best in the business! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess

In this episode of Film Stories with Simon Brew, a pair of films that faced their challenges, but one came out of it all better than the other.A third Blade film was announced even before Blade II had arrived in cinemas. David S Goyer took on the director's chair, but to say the production had a few problems would be quite the understatement. Gulp.Things were a little smoother with 1992's Candyman, although writer/director Bernard Rose was first approached about a different Clive Barker story to adapt. But three different financiers meant there were differing opinions about the film behind the scenes - and distribution wasn't entirely straightforward either.Stories of both are told in this episode.Find Simon on Twitter at @simonbrew, and the podcast can be found at @filmstoriespod.Support this podcast: www.patreon.com/simonbrew. Hosted on Acast. See acast.com/privacy for more information.

Look in the mirror and say his name five times! Candyman (1992) dir. Bernard Rose. Script by Bernard Rose, based on "The Forbidden" by Clive Barker. Starring Virginia Madsen (Dune, Sideways), Tony Todd (Candyman: Farewell to the Flesh, Candyman: Day of the Dead, Candyman 2022) and Kasi Lemmons (director of Harriet and Eve's Bayou). That's So Gothic releases episodes on the first and third Thursday every month. Email sogothicpod@gmail.com. Follow Chance and Amanda on Letterboxd @mrchancelee and @mcavoy_amanda. Instagram @sogothicpod Closing music "Gothic Guitar" by Javolenus 2014 - Licensed under Creative Commons Attribution Noncommercial (3.0)

Bee my victim......get it....Beecause Candyman got killed by Be....nevermind. Join Alec and Joe as they discuss a 90's horror classic, Clive Barker's Candyman, directed by Bernard Rose. Today we pick apart the deeper meaning of the film, try to understand Candyman's motivation, discuss Clive Barker, and much more. Enjoy!This episode is sponsored by Fanimal. Use check out code Horror for $20 of credit towards your first purchase. Visit https://fanimal.com/  Or download the Fanimal App.This Episode is sponsored by Bards Clothing. Visit https://www.bardsclothing.com. and follow them on Instagram @bardsclothing

The team sits down to get the scoop on new film, "Traveling Light". Featured in this interview is Bernard Rose, Director and Writer, and Danny Huston, who plays "Harry" in the film.Traveling Light tells the story of Caddy (Tony Todd) over a twenty four hour period on May 30th 2020 as he searches for his missing son who has been living on the streets, while working as an Uber/Delivery driver during the early days of the Pandemic in Los Angeles. His path crosses Harry (Danny Huston), a cult leader who is holding a bizarre happening/ceremony up on Mulholland drive where Todd (Stephen Dorff) and Mary (Olivia d'Abo) are attending as acolytes. All the while news of the horrific murder of George Floyd reverberates around the city as the social fabric collapses and we realize we are witnessing the end of an era... Funny and frightening in equal measure, Traveling Light is a Bunuelian satire of bourgeoisie life in Los Angeles at a moment of extreme crisis. Directed by Bernard Rose (Candyman 1992).______________Bernard Rose was born on 4th August 1960, in London, England, and began his career by making Super 8 films at the age of 9. The BBC held an amateur movie competition which he won in 1975. He attended The National Film and Television School in Beaconsfield, England, graduating in 1982 with a Master's in Filmmaking and first began directing music videos in the early days of MTV for artists such as UB40, Frankie goes to Hollywood, Roy Orbison, and Roger Waters. He then worked for the BBC, directing TV films before he directed "Paperhouse" and "Chicago Joe and The Showgirl." He gained American attention when he wrote and directed his 1992 cult horror film classic "Candyman."______________Danny Huston is an Award-winning actor, writer and director known for his versatility and dramatic screen presence. Most recognized for his roles in films like Martin Scorsese's The Aviator, Alfonso Cuaron's Children of Men and Alejandro Inarritu's 21 Grams, Huston has worked with some of the finest film directors of his generation. Huston got his start directing Mr. North with Robert Mitchum, Anthony Edwards and his sister Anjelica Huston. He went on to give his breakthrough acting performance in the independent film Ivansxtc for which he was nominated for Best Male Performance at the 2003 Independent Spirit Awards.In 2013, his critically acclaimed role of Ben the butcher in Magic City (STARZ), earned him a Golden Globe nomination for Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television. His other television acting work includes the hit television series Masters Of Sex (Showtime), a recurring role in the hugely popular American Horror Story (FX), and performances in You Don't Know Jack (HBO)with Al Pacino and John Adams (HBO/Playtone). Hosted on Acast. See acast.com/privacy for more information.

Welcome to the BarkerCast, the only dedicated Clive Barker Podcast. Make sure to subscribe or follow wherever you get audio so you never miss a release. In Episode 353 Jose and Ryan go over all the news revealed in Phil and Sarah Stokes' 37th Revelatory Interview with Clive Barker, plus an upcoming appearance by Clive, and a new movie with Tony Todd and Bernard Rose of Candyman.  Sponsor Don Bertram's Celebrate Imagination  From The Reef 37th Revelatory Interview  Clive Barker's Dark Worlds Diversity vs. a single vision Poetry as Technology Mercy and the Jackal Warner Brothers BOB animated – Jason DeMarco 5 Books of Blood Stories, including “In The Hills The Cities” 5 Original Stories (made 11) English TV Series with Mick Garris — Sold to Shudder Pilot: London Voodoo Outfest 40th Anniversary – Clive Barker Appearance Ralph McQuarrie Dreams and Visions Sale Tony Todd stars in Bernard Rose' “Traveling Light” Simon Boswell reminisces about composing LOI score Coming Next  A-Z Commentaries: V for Vice Versa – Nightbreed (Theatrical Cut) More News and Interviews More Jericho Squad 77 And this podcast, having no beginning will have no end.  web www.clivebarkercast.com iOS App| Android App, Apple Podcasts, Google Podcasts, Android, Stitcher, Spotify, Pandora, Libsyn, Tunein, iHeart Radio, Pocket Casts, Google Play, Radio.com, DoubleTwist and YouTube and Join the BarkerCast Listeners & Occupy Midian group Discord Community Twitter: @BarkerCast| @OccupyMidian Support the show, Buy a T-Shirt All Links and show notes in their Entirety can be found at http://www.clivebarkercast.com

GGACP celebrates the 60th birthday (May, 14, 1962) of actor-director Danny Huston (“The Aviator,” “Hitchcock,” “Wonder Woman”) with this ENCORE presentation of a 2019 interview. In this episode, Danny regales Gilbert and Frank with stories about meeting Orson Welles, directing Robert Mitchum, getting inside the heads of big-screen bad guys and growing up with (and working alongside) his legendary father, John Huston. Also, Hal Roach cozies up to Mussolini, Katharine Hepburn makes like Eleanor Roosevelt, George Raft turns down the role of a lifetime and Danny reflects on the career of his grandfather, Oscar-winner Walter Huston. PLUS: “The Other Side of the Wind”! Remembering Robert Evans! The mystery of B. Traven! The punk rock cinema of Bernard Rose! And Danny and Gilbert reenact a scene from “Chinatown”! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey youse guys! This episode we watch the 1992 gothic supernatural horror film, Candyman. The movie was written and directed by Bernard Rose and stars Virginia Madsen, Tony Todd, Xander Berkeley, Kasi Lemmons and Vanessa E. Williams. Synopsis: The Candyman, a murderous soul with a hook for a hand, is accidentally summoned to reality by a skeptic grad student researching the monster's myth. Fun fact: the movie is based on Clive Barker's short story "The Forbidden." Scary Movie & Chill with us as we watch the movie and chat about Mike's body pain update, what happened to Madonna, a Cabrini Green history, a chilaquiles burrito, the Pretty Woman musical, Weekend at Bernie's, vest fashion, Bonz's trip to Ohio, childhood trauma and teaching Mike about the rippin' and the tearin'. Enjoy! --- Support this podcast: https://anchor.fm/scarymovieandchillpodcast/support

We finish out our Frankenstein month with Frankenstein (2015) directed by Bernard Rose. Spoiler alert: we didn't like it.

With the remake leaving theaters, time to go back to the original. Listen five times, if you dare, as we buzz with excitement building a horror fan hivemind around Bernard Rose's 1992 horror classic Candyman. At least, it will serve as a not-so-gentle reminder to check your sweets for razor blades this season. Be sure to follow @31for31podcast on Instagram for updates and the full list! Learn more about your ad choices. Visit megaphone.fm/adchoices