Podcasts about Boston Film Festival

Amy is joined by filmmaker Sarah Perkins to discuss her documentary, The Basement Talks, hearing a powerful and pertinent story about women coming together in the wake of violence, recognizing the humanity in our political rivals, and what we talk about when we talk about abortion.Sarah Perkins is a filmmaker and PhD student at Brandeis University in Massachusetts, though she currently resides in rural southeast Idaho with her family. Together with her husband, she is the co-director of The Basement Talks. Previously, she worked as production manager on American Tragedy, which won Best Documentary at the Boston Film Festival and as the editor for the Herbe Nassour story. In her graduate work, she studies 20th-century literature and theology around the question of theodicy.

A non-binary punk-rock poet with style an exec once described as “Aaron Sorkin on acid,” Frankie specializes in writing dark comedies about deeply flawed losers struggling to reinvent themselves in stories packed with punchlines taking bold swings towards silly and surreal. A New Jersey native raised in the Bible Belt, Frankie Campisano now calls Los Angeles their home. A non-binary punk-rock poet with a style an exec once described as “Aaron Sorkin on acid”, Frankie specializes in writing dark comedies about deeply flawed losers struggling to reinvent themselves in stories packed with punchlines taking bold swings towards silly and surreal. Frankie has worked in the entertainment industry for over ten years, including at NBCUniversal, Sony Pictures Classics, and Fox Broadcasting Company. They are freelance script development analysts, covering comedy pilots and features for production companies, contests, and film festivals, including the Austin Film Festival and the Boston Film Festival. Frankie graduated from Elon University (…no relation) in Elon, North Carolina (…again, no relation), where they studied screenwriting and poetry. As one of Elon's inaugural Alumni Production Fund winners, Frankie partnered with students and alumni to produce an experimental comedy/horror short, SECRET MENU BEAUTY PAGEANT, currently on the festival circuit. --- Support this podcast: https://podcasters.spotify.com/pod/show/experimentalfilmpodcast/support

Maria Johnson and Catholic Mom contributor, Kristina Talbot interview the mother and son filmmakers behind the powerful film about Boys Town, Blue Baby. Matters Media announces the new feature documentary film BLUE BABY that follows eight boys through Fr. Edward J. Flanagan's Boys Town, a prison alternative established in Omaha, Nebraska in 1917. With unprecedented access, filmmakers take the audience inside Boys Town to a world that challenges what people have believed about problem behavior for thousands of years. This is a film that goes beyond the heart of a Catholic priest, and into the real-world impact of what he created. BLUE BABY will be available starting October 9. We need your help to get the word out via your network of influence. About the filmmakers:  Josh and Lisa Sabey are the filmmakers behind American Tragedy, The Basement Talks, Blue Baby, and Going Sane. Their film American Tragedy won best documentary at the prestigious Boston Film Festival where it was one of three films screened opening night. (The other two were Terrence Malick's USA premiere of A Hidden Life and Taika Waititi's Jo Jo Rabbit.) Their latest film, The Basement Talks, debuted on Prime Video, Apple TV, and PBS World.  Links in Show: Watch the trailer here:

It's so fortunate that Dawson happened to stop by Joey's art class the day she was sketching nude female Devon (Rachael Leigh Cook!) because it turns out she's also a drama student at the college and she's PERFECT to play "Sammy" in his movie...which is starting production mere hours after Dawson casts her! Jen's been busily lining up volunteers. Jack agrees even though he and Dawson only stopped openly hating each other in the last episode. Ty agrees because he's got a crush on Jen -- and she seems just as interested in him. Andie agrees even though her meds (an empty bottle of which Pacey finds in her trash) don't seem to be calibrated quite right. Grams agrees, and yay, it's been weeks since we saw her! Joey agrees, not knowing how uncomfortable it's going to be to watch people she barely knows perform barely disguised scenes from her real life. It's a real bad time for nearly everyone. Boston Film Festival, you have a LOT to answer for. Our latest episode on "His Leading Lady" will tell you whether She is, in fact, All That! JOIN THE AWT CLUB

Watch the video version of this podcast on YouTube here: https://www.youtube.com/watch?v=IhVXWGVNguQ BUY THE BOOK - THE 90 DAY SCREENPLAY: From Concept To Polish https://amzn.to/2LBhmUO BUY THE BOOK - THE 90 DAY NOVEL: Unlock The Story Within https://amzn.to/2Vj8Y10 BUY THE BOOK - THE 90 DAY MEMOIR: Tell the Story of Your Life https://amzn.to/3U4EjBv Alan Watt is an LA Times bestselling author and winner of France's Prix Printemps for best foreign novel. He is the writer/director of the feature film, Eddie, Kill the President. which won 4 Best Feature awards at US Film Festivals, and the Filmmaker Visionary award at The Boston Film Festival. He founded L.A. Writers' Lab in 2002 where he teaches his process of marrying the wildness of your imagination to the rigor of story structure in his online 90-Day workshops for novel, memoir and screenplay, to writers around the world. His book, The 90-Day Novel is a national bestseller and was Amazon's #1 book on writing for five months. He has taught his method everywhere from maximum security prisons to Stanford University. His students run the gamut from first-time writers to A-list screenwriters and Pulitzer prize-winning journalists. His motto is, start where you are, trust the process, and let the thrill of creation be your reward. ALAN WATT'S WRITING WORKSHOPS https://lawriterslab.com MORE VIDEOS WITH ALAN WATT https://bit.ly/2DXA6Yx CONNECT WITH ALAN WATT https://lawriterslab.com https://www.imdb.com/name/nm5067037 https://www.facebook.com/lawriterslab https://twitter.com/lawriterslab https://www.instagram.com/lawriterslab MORE VIDEOS LIKE THIS The 90 Day Screenplay: From Concept To Polish - https://youtu.be/tBR5BCLkHDE Crack the Secret of Successful Screenwriting - https://youtu.be/dcFKlaChuS0 How To Tell A Better Story - https://youtu.be/dy2QpplPxiU Essential Story Tools Required For Screenwriting Success - https://youtu.be/CWfcjN8ajHg A Beginners Guide To Writing Fiction - https://youtu.be/5gugpMuxCT4 CONNECT WITH FILM COURAGE http://www.FilmCourage.com http://twitter.com/#!/FilmCourage https://www.facebook.com/filmcourage https://www.instagram.com/filmcourage http://filmcourage.tumblr.com http://pinterest.com/filmcourage SUBSCRIBE TO THE FILM COURAGE YOUTUBE CHANNEL http://bit.ly/18DPN37 SUPPORT FILM COURAGE BY BECOMING A MEMBER https://www.youtube.com/channel/UCs8o1mdWAfefJkdBg632_tg/join SUPPORT FILM COURAGE BY BECOMING A PATRON https://www.patreon.com/filmcourage LISTEN TO THE FILM COURAGE PODCAST https://soundcloud.com/filmcourage-com (Affiliates) SCRIVENER FREE TRIAL https://tinyurl.com/43uuumc6 ►WE USE THIS CAMERA (B&H) – https://buff.ly/3rWqrra ►WE USE THIS SOUND RECORDER (AMAZON) – http://amzn.to/2tbFlM9 Stuff we use: LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - http://amzn.to/2tbtmOq AUDIO Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post https://amzn.to/425k5rG Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - https://amzn.to/3WEuz0k LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - http://amzn.to/2u5UnHv *Disclaimer: This video and description contains affiliate links, which means that if you click on one of the product links, we'll receive a small commission. This helps support the channel and allows us to continue to make videos like this. Thank you for your support!

Eric Aronson, who wrote and directed the film "Any Day Now," joins Radio Boston.

Gary Tanguay filled in on NightSide:Sportswriter, producer, and editor Jackson Tolliver joins Gary to discuss the Red Sox, Head Coach Jerod Mayo leading the Patriots this upcoming season, predictions for the Bruins 2024-2025 season and more!Then, The Boston Film Festival is coming up this month! The festival will be celebrating its 40th anniversary with a festival-record six world premieres! Host Gary Tanguay is featured in one of the festival's feature films, Any Day Now. Joining Gary to discuss the festival and films is Boston Film Festival Executive Director Robin Dawson and Director of Any Day Now, Eric Aronson.Ask Alexa to play WBZ NewsRadio on #iHeartRadio!

D.B. stars in the newest Francis Ford Coppola film, Megalopolis - to be released in 2024.Before breaking through as an actor on Broadway in The Caine Mutiny Court Martial, D.B. Sweeney played baseball, worked in construction, drove cabs and cooked in some of America's finest restaurants. His many stage appearances led to movies and television where he's played dozens of memorable roles including Shoeless Joe Jackson in Eight Men Out, Doug Dorsey in The Cutting Edge, Travis Walton in Fire in the Sky, and Dish Boggett in the landmark Lonesome Dove miniseries.During his time in the New York Theatre, D.B. was discovered by directing legend Francis Ford Coppola and offered the leading role of Jackie Willow in Gardens of Stone opposite James Caan and James Earl Jones. This indelible and critically acclaimed performance led to a series of major parts in studio films including No Man's Land with Charlie Sheen, the World War II hit Memphis Belle, the star studded Eight Men Out and the enduring romantic comedy The Cutting Edge. Other films include Roommates with Peter Falk, Hear No Evil with Marlee Matlin, Blue Desert with Courtney Cox, A Day in October, Spawn, Heaven is a Playground, Spike Lee's Miracle at St Anna, Hardball with Keanu Reeves and Yellow. Sweeney also made his debut as screenwriter, director and producer with Two Tickets to Paradise. The film stars John C. McGinley, Ed Harris, Moira Kelly and D.B. in the tale of three high school buddies who try to re-capture their long gone glory days in a hilarious road trip adventure. The story strikes a chord among viewers who invariably see themselves or their hometown friends as one or more of the film's deeply resonant and archetypical characters. D.B. has received dozens of accolades and awards for creating Two Tickets to Paradise including Best Narrative Feature at the Savannah Film Festival, the Audience Choice Award at The Vail Film Festival, Best Director at the Boston Film Festival and many more.On television, D.B. starred in four series: as the mysterious Chance Harper in Strange Luck, Special Agent Scott Stoddard in C-16 FBI, mercenary Mike Pinocchio in Chris Carter's Harsh Realm and as the clueless Mr. Whitman on Life As We Know It. TV films include the Emmy winning Miss Rose White with Kyra Sedgewick and the Emmy and Golden Globe winning Introducing Dorothy Dandridge opposite Halle Berry. D. B. has guest starred on some of television's greatest shows from NYPD Blue to House, CSI to Jericho and The Event.He continues to perform on stage regularly, especially at Hollywood's Blank Theatre, where he is a founding board member.One of the preeminent voice talents in the industry, D.B. created characters for the animated Disney films Dinosaur and Brother Bear and is the signature promotional performer for the Oprah Winfrey Network. He will soon be heard on Finneas and Ferb and in the film Boxcar Children. He currently narrates All Access for Showtime, Discovery Channel's Mountain Men and Ice Pilots for Nat Geo. Past and present advertising accounts include Bud Lite, Lincoln Cars, Coca Cola, Major League Baseball, John Deere, NFL Network, Direct TV, Hallmark, Conocco Phillips and the NHL.

Colmcille Donston directed the short film ‘Peace Be With You', which has received multiple accolades from The Scout Film Festival, Boston Film Festival, Manhattan Film Festival, and Garden State Film Festival. Colm is about to make his feature directing debut on the film ‘By the Grape of God' and is a graduate from Emerson College. ▬▬▬▬▬▬▬▬ COLMCILLE DONSTON ⌲ IMDb: https://www.imdb.com/name/nm8414949/ ⌲ IG: https://www.instagram.com/cdonston/?hl=en ▬▬▬▬▬▬▬▬ The Moving Spotlight Podcast ⌲ iTunes: https://podcasts.apple.com/us/podcast/the-moving-spotlight/id1597207264 ⌲ Spotify: https://open.spotify.com/show/7cjqYAWSFXz2hgCHiAjy27 ⌲ Patreon: https://www.patreon.com/themovingspotlight ⌲ ALL: https://linktr.ee/themovingspotlight ▬▬▬▬▬▬▬▬ #PeaceBeWithYou #ByTheGrapeOfGod #BTGOG #ScoutFilmFestival #BostonFilmFestival #ManhattanFilmFestival #GardenStateFilmFestival #Director #Directing #Features #Film #FeatureFilms #EmersonCollege #Emmys #TVTime #iTunes #Actor #ActorsLife #Believe #Success #Inspiration #Netflix #Hulu #Amazon #HBO #AppleTV #Showtime #Acting #Artist #Theatre #Film #YourBestBadActing #Content #CorbinCoyle #JohnRuby #RealFIREacting #TMS_Pod --- Support this podcast: https://podcasters.spotify.com/pod/show/the-moving-spotlight/support

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.

Today on Too Opinionated we talk with the stars of the new hit movie, The Last Deal, Conner Floyd and Gigi Gustin! The Last Deal a captivating profusion of HEAT and SAVAGES, nabbed Best Director at the Boston Film Festival, and later, the Jury Prize for Best Performance at the San Antonio Film Festival. Black market marijuana dealer Vince is living the high life in Los Angeles, but everything changes when new laws pass making cannabis legal. With limited dispensary licenses available, Vince may be squeezed out of the business. He's desperate to make one final score, but borrows money from the wrong people. Conner Floyd is known for his work on The Young and The Restless, Sick, She Inherited Danger and Malicious Motives.  Gigi Gustin is known for her roles in Nightmare at Precinct 84, Fast and Fierce: Death Race and The Retaliators!  Want to watch: YouTube Meisterkhan Pod: (Please Subscribe)

Head of nurses union discuss becoming a compact nursing state to deal with nursing shortage; Supply issues continue to challenge the auto industry; Local filmmaker premieres historical drama The Wind and the Reckoning at the Boston Film Festival

Plus, local chefs compete to create the best apple-inspired dish.

Sydney Scotia recently wrapped a series lead role in the Crave series, PILLOW TALK. She is best known for her role as Geneva in the YTV/Netflix comedy, SOME ASSEMBLY REQUIRED; for which she won two Joey Awards, and earned a Leo Award nomination for Best Comedic Actress during its three-season run. In May 2016, her short film I DARE YOU (producer/actor) screened at the Cannes Film Festival, earning her a fourth Joey Award nomination. Sydney then went on to star in the Netflix series, REBOOT: THE GUARDIAN CODE, based on the cult classic cartoon. Her other credits include The CW's MY CRAZY EX-GIRLFRIEND, and Hallmark's, EAT DRINK & BE MARRIED. This year she will make her theatrical debut in FRANK & PENELOPE, in theaters on June 3rd. Season two of PILLOW TALK is to begin filming in September 2022. She pursues a career behind the camera as well with her feature-length documentary, THIS HITS HOME winning audience choice at the Boston Film Festival. Her most recent short films DEAD END and JANE are to be released in 2022 after attending festivals. Frank & Penelope Synopsis Frank is on a road to nowhere when he stumbles into a run-down strip club where he sees Penelope dancing on a wobbly brass pole. This chance encounter ignites a love story that burns hotter than the West Texas blacktop. Leaving their broken lives in the rearview mirror, Frank and Penelope head West with no destination in mind but each other. But a chance meeting leads them to the “Table of Truth” with a seductive, charismatic cult leader who has a penchant for travelers' darkest secrets – and his own ideas on sins of the flesh. Two soulmates who had nothing to live for now find themselves in a bloody battle for life and love in a world where EVERYTHING is worth dying for. Sydney plays Kevin Dillon's daughter Molly in the film that was shot in Texas and was Written & Directed By: Sean Patrick Flanery. Thank you to our sponsor: Wellness Resources! Visit https://www.wellnessresources.com/ and use promo code: Counterparts and get free shipping on all orders! Visit www.counterpartsshow.com for more episodes and to contact the hosts. Thank you for watching!

Sydney Scotia recently wrapped a series lead role in the Crave series, PILLOW TALK. She is best known for her role as Geneva in the YTV/Netflix comedy, SOME ASSEMBLY REQUIRED; for which she won two Joey Awards, and earned a Leo Award nomination for Best Comedic Actress during its three-season run. In May 2016, her short film I DARE YOU (producer/actor) screened at the Cannes Film Festival, earning her a fourth Joey Award nomination. Sydney then went on to star in the Netflix series, REBOOT: THE GUARDIAN CODE, based on the cult classic cartoon. Her other credits include The CW's MY CRAZY EX-GIRLFRIEND, and Hallmark's, EAT DRINK & BE MARRIED. This year she will make her theatrical debut in FRANK & PENELOPE, in theaters on June 3rd. Season two of PILLOW TALK is to begin filming in September 2022. She pursues a career behind the camera as well with her feature-length documentary, THIS HITS HOME winning audience choice at the Boston Film Festival. Her most recent short films DEAD END and JANE are to be released in 2022 after attending festivals. Frank & Penelope Synopsis Frank is on a road to nowhere when he stumbles into a run-down strip club where he sees Penelope dancing on a wobbly brass pole. This chance encounter ignites a love story that burns hotter than the West Texas blacktop. Leaving their broken lives in the rearview mirror, Frank and Penelope head West with no destination in mind but each other. But a chance meeting leads them to the “Table of Truth” with a seductive, charismatic cult leader who has a penchant for travelers' darkest secrets – and his own ideas on sins of the flesh. Two soulmates who had nothing to live for now find themselves in a bloody battle for life and love in a world where EVERYTHING is worth dying for. Sydney plays Kevin Dillon's daughter Molly in the film that was shot in Texas and was Written & Directed By: Sean Patrick Flanery. Thank you to our sponsor: Wellness Resources! Visit https://www.wellnessresources.com/ and use promo code: Counterparts and get free shipping on all orders! Visit www.counterpartsshow.com for more episodes and to contact the hosts. Thank you for watching!

https://www.sydneyscotia.com/ Sydney Scotia recently wrapped a series lead role in the Crave series, PILLOW TALK. She is best known for her role as Geneva in the YTV/Netflix comedy, SOME ASSEMBLY REQUIRED; for which she won two Joey Awards, and earned a Leo Award nomination for Best Comedic Actress during its three-season run. In May 2016, her short film I DARE YOU (producer/actor) screened at the Cannes Film Festival, earning her a fourth Joey Award nomination. Sydney then went on to star in the Netflix series, REBOOT: THE GUARDIAN CODE, based on the cult classic cartoon. Her other credits include The CW's MY CRAZY EX-GIRLFRIEND, and Hallmark's, EAT DRINK & BE MARRIED. This year she will make her theatrical debut in FRANK & PENELOPE, in theaters on June 3rd. Season two of PILLOW TALK is to begin filming in September 2022. She pursues a career behind the camera as well with her feature-length documentary, THIS HITS HOME winning audience choice at the Boston Film Festival. Her most recent short films DEAD END and JANE are to be released in 2022 after attending festivals. Frank & Penelope Synopsis Frank is on a road to nowhere when he stumbles into a run-down strip club where he sees Penelope dancing on a wobbly brass pole. This chance encounter ignites a love story that burns hotter than the West Texas blacktop. Leaving their broken lives in the rearview mirror, Frank and Penelope head West with no destination in mind but each other. But a chance meeting leads them to the “Table of Truth” with a seductive, charismatic cult leader who has a penchant for travelers' darkest secrets – and his own ideas on sins of the flesh. Two soulmates who had nothing to live for now find themselves in a bloody battle for life and love in a world where EVERYTHING is worth dying for. Sydney plays Kevin Dillon's daughter Molly in the film that was shot in Texas and was Written & Directed By: Sean Patrick Flanery. Thank you to our sponsor: Wellness Resources! Visit https://www.wellnessresources.com/ and use promo code: Counterparts and get free shipping on all orders! Visit www.counterpartsshow.com for more episodes and to contact the hosts. Thank you for watching!

Welcome Back Creek Talkers!!This week we're filming a movie funded by the BOSTON FILM FESTIVAL! And it's starring Rachael Leigh Cook! Join us as we recap Season 2, Episode 13, "His Leading Lady."Dawson (James Van Der Beek) and Joey (Katie Holmes) are trying to work on their friendship again. While volunteering on Dawson's new movie, Joey realizes that she may not be so ready to jump back into their Friday movie night ritual. Jen (Michelle Williams) is introduced to a cute new boy named Tyson Hicks (Eddie Mills).  After joining the film and flirting with each other all day, will Tyson be just the thing Jen is looking for? Or will this be a disaster of biblical proportions? Pacey (Joshua Jackson) and Andie (Meredith Monroe) are going through some rough waters after Andie is taken off her prescription medication. Will this be the end for Capeside's cutest couple? Or will Pacey keep fighting for the woman he loves? We also discuss first date etiquette and our international listeners! So, get camera ready and start memorizing your lines because this week, we're giving even the BIGGEST stars a run for their money! Join us for "His Leading Lady!"**RATE & REVIEW US on iTunes, Spotify or wherever you listen to our podcast!**FOLLOW US on INSTAGRAM @CreekTalkPodcast**FOLLOW US on TWITTER @CreekTalkPod**FOLLOW Jayme's #Bookstagram @Jaylynn_Booklover**Visit our LinkTree:https://linktr.ee/CreekTalkPodcast**WE WANNA HEAR FROM YOU!!--Send Us an Email @CreekTalkPodcast@gmail.com**Original Theme Song Written & Performed by Justin MichaelFOLLOW Justin Michael - YouTube**Original Lyrics Written by Stephen Gavis & Jayme Whitehead

Curse Of Aurore: Curse of Aurore The MovieCult Cinema Productions: Home (cultcinemaproductions.com)Llana Barron is an actress, producer, and screenwriter. She is best known for her work in "Curse of Aurore," and "Silent Hill: Homecoming." She co-wrote, starred in, and produced the short film, "Committed," awarding her the honor of Best Actress, at the Boston Film Festival. Llana's voice has been featured in a number of video games, most notably as the character Elle Holloway in "Silent Hill: Homecoming." Llana is a co-founder and producer at Cult Cinema Productions, a production company in Raleigh, NC. "Curse of Aurore," is Llana's feature film debut as writer, producer, and lead actress.Mehran C. Torgoley is a director & writer, originally from Chicago, Il. After moving to Southern California, Mehran directed several short films, music videos and commercial projects, including the award winning short, Committed. He has contributed to projects for clients such as Justin Bieber, Fox Studios and Image8nineteen. In 2019, he co-founded the production company, Cult Cinema Productions.Curse of Aurore is Mehran's feature film debut as director and writer.Famous Monsters Coffee (use promo code "Fiends" to save 20% on your purchase.)One Homebase For Your Followers | Onescreener(use promo code "Fiends" to save 30% on your first year.)*Cerebral Palsy Awareness t-shirt is also available. All proceeds will be donated to "The Reaching For The Stars Foundation"*Use Promo Code: "FiendArmy" for 10% off your store purchaseMerch store: https://teespring.com/stores/behind-the-fiends-2John is an Associate/ Executive Producer on 4 upcoming horror films...you can be too. Or choose from other great perks and support these projects.Texas Chainsaw Massacre Fan Film "The Sawyer Massacre".The Sawyer Massacre - Horror TX Chainsaw Fan Film | Indiegogo"Z Dead End" Starring horror icons Kane Hodder (Jason Vorhees) and Felissa Rose (Sleepaway Camp).Z DEAD END Action Thriller | IndiegogoHalloween: Evil LivesHalloween: Evil Lives.... | Indiegogo“The 3rd Channel” Halloween 3 Fan Film https://www.indiegogo.com/projects/the-3rd-channel-horror-halloween-3-fan-film#/Youtube: Behind The FiendsTwitter: @btfiendsIG: @btfiendspodcast_officialEmail: btfiends@gmail.comMembers of Sundown Radio and 96.6 The Wolf

The last few years have been something of a whirlwind for Deirdre O'Kane. A co-founder of Comic Relief in Ireland, she fronted the critically and audience acclaimed RTÉ Does Comic Relief which raised more than 6 million euros to help those most in need as a result of the Covid-19 pandemic and reached in excess of 1.4 million viewers across Ireland. She recently fronted her own talk show - Deirdre O'Kane Talks Funny - in the primetime Saturday night slot on RTÉ One and will debut a brand new series, The Deirdre O'Kane Show, with Sky in 2021. Deirdre will appear alongside Boy George, Aston Merrygold and Vogue Williams on the new Fox-developed talent show, The Big Deal, premiering later this year on Virgin Media Television. Deirdre is also known as the voice of smash-hit Gogglebox on Virgin Media which returns for a seventh season in 2021. In recent years she has hosted the revamped IFTA Film & Drama Awards for RTÉ and Virgin Media Television, and reached the finals of the national broadcaster's fan-favourite Dancing with the Stars in its third season in 2018. One of Ireland's favourite comedians, Deirdre never strays too far from her live stand-up roots; a box fresh hour of side splitting laughs is in the works for a new tour slated to start in 2022. A six-time Irish Film and Television Awards (IFTA) nominee, Deirdre was awarded Best Lead Actress (Film) 2015 for her role as Christina Noble opposite Liam Cunningham, Sarah Greene and Brendan Coyle in Stephen Bradley's feature Noble. Released in September 2014, Noble won Jury and Audience awards at the Boston Film Festival, Santa Barbara International Film Festival, Newport Beach Festival, Nashville and Dallas Festivals. Follow us on socials: Website: www.take2agency.com Instagram: @take2actorsagency Facebook: Take2 Online Acting School Twitter: Take2 Actors Agency & Acting School

**Silent Bob is Silent no more! Director Kevin Smith brings his Mooby's Pop-up to Boston at House of Blues for a limited engagement. We got a chance to sit down with him and talk all the nerdy tidbits about Stan Lee, his upcoming Masters of the Universe: Revelation, helping restaurant workers in the pandemic, and his shot-from home sitcom, Son in Lockdown featuring his entire family and introducing Austin Zajur.** Snootch to the Bootch! Do617: So good to see you. you don't mind being on video, do you?. Kevin Smith: Not at all. That's why I wore the funny hat! By the way, I'm still happy to see you. Trying to stay alive, man. The restaurant business doesn't make it easy though. Because, suddenly, you get access to free food where you're like, "I'll take three orders of Hater Tots"! "I'm the man" Why not? It's my place. Free food! How are you feeling? Feeling good? I'm feeling fantastic. It's been, just past the three-year mark since the heart attack knocks wood you know, so far so good. Thanks for coming to Boston. Lovely to be here, man. Boston has always been a big part of everything. I was just telling my wife today. I was like, the first time I came to the Commonwealth was with Clerks. Like even though I lived in New Jersey, I'd never come up to Massachusetts. There was no call for it and stuff. Yeah. It was from Philly to New York. They're close. Boston's like a three-hour drive. So it wasn't until Clerks that I came to the city with the Boston Film Festival and then I kept going back and like, Chasing Amy and Dogma and stuff like that. And the boys are from here. And the boys being from here! You know, me and Scott (Moser) were involved with Good Will Hunting as well. So there's, always a wonderful tie to the city, to the community. Also, this is a big college town and at one point in my career, I was "The College Guy". Yeah. You're my "College Guy", I suppose. I went to MassArt right down the street from here. In the Nineties, we were looking up to you, man. You've been inspiring people forever. You were so close with Stan Lee, I got to interview Stan it was an honor. an honor. You've always said good things and, and you were taking care of him. And I just want to say, I appreciate that you did that. What a great life. So the thing about the loss that breaks the heart is he was a vital 90-year-old and he didn't have that the last year or two years of his life, the way. He was kind of tossed around and literally suffered from elder abuse. That shaved years off his life. He was so vital, but there came a certain point where he's not only was he has physically beaten down but just the thought of like, "this is what it's come to". How could you do that to everyone's Grampa? So, you know what I'm saying, who gave so much joy in his lifetime, but at least, you know, he had that entire ten-year period of Marvel cameos, where at the end of his life, he got celebrated by the entire world. Everybody knows his name, even people that never heard of him before were, "Oh, that's Spider-Man's baby daddy". You know, maybe it was your idea to put him in the films? I remember seeing them in a movie years ago. Yeah. That was, for us, it was a no-brainer. Cause you got a movie about a guy that loves comic books. You got to Stan... Perfect marriage. And when we did it, I remember the movie came out in '95, there was just like, "Oh, Who? Stan Lee? That's quaint". You know, years later it became. A stamp of quality. I love seeing him in that movie. He's younger, obviously. I remember when he came to work with us, they were telling us "you gotta be careful, man, because this man is 73 years and he can go at any point". And he lasted another 23 years! *God bless him, man. Well, another thing, you've come here to Boston, to the restaurant at the House of Blues, which is a great venue. Lots of people, we've been out of work, but there are ways that people can keep it going. I appreciate that you came here to help us out. * I first heard of the Mooby's Pop-Up in the show that you did, Son in Lockdown and, that was just such a great thing to have your wife at that and Harley and Austin. Was it fun to just shoot if you're own your house? It was so adorable, especially considering it was in the middle of the quarantine and nobody was doing anything. So this TBS show Celebrity Show-Off presented itself as an opportunity. And they were like, "you can do anything you want, we're gonna give you a camera, shoot, whatever you want". And I was like, "can I shoot a sitcom"? They're like, "absolutely go ahead". So the entire town was shut down and you know, it's dopey to say, but we were literally the only sitcom in town that was shooting. It was a weird moment and it was fun to do it. It's the best job in the world, you don't even have to get dressed and drive to the studio. You wake up and you weren't in the studio. So it was such a good time! But it was a Kevin Smith joint, man! It was really, really funny Austin is such a rockstar! He's great. I put him in Clerks III... Do you have any updates, about Masters of the Universe: Revelation? I think the first time folks are going to see any imagery is coming up in May. We're in April right now. So next month. Do you like animation? I love it. It's phenomenal. The boys at Powerhouse Animation did a wonderful, wonderful job. They do_ Castlevania_ on Netflix, Seis Manos, Blood of Zeus. So all the characters look exactly the way they're supposed to. They just look like they were drawn now as opposed to the '80s. And so hey, if you want to talk about people who elevate it, man. I love the scripts that we came up with, but Powerhouse absolutely knocked it out of the park. They elevated our scripts and made far better cartoons than we provided them the "word power" to do so. Watching the whole thing come together, man. Because so many people work on it from your writing staff to then, your recording, and the vocal tracks. Then it all gets handed over to the animators and they do. iI's like movie making and it's like comic books at the same time. What's really wonderful about it is when you're working on a movie or something or a TV show, you know, you're seeing results on a regular basis because you're doing it. You got this window of time to do it when you're just the writer or showrunner on this animated series. My main job of just "let's get this thing written" was done early for us, it was the first job done. So I go about my life and then every few days there's a delivery of an art pack and you're like, "Holy shit". They drew all the characters and then as time goes on, it's like, "here's the first animatic". "Here's the second animatic". "This animatic is locked. Here's the automatics for episode two". Episode three, four. Oh my God. The finished animation for episode one is coming in. So it's this, this waterfall of productivity that you have nothing to do, with, other than getting to appreciate it. You wrote and your part is done. I mean, you can't go and make a script change. We can, as long as "lip flap" is off-camera. That continued and as much as periodically, we need to pick up these lines, we need to add new lines. Netflix thinks this needs clarity. So then you come up with that stuff and make that work and stuff. So you might need to even make new scenes, etc... Generally, it's not too deep in the process and going like, "Oh, I'm gonna write a whole new scene". if you do that, it's a big deal because the process is eight to ten months in. And once it starts going, it starts going, but being at the receiving end of all, the joy, the here's what Battle Cat looks like, you know, Oh my God, this is what Evil-Lyn looks like. This is what Evil-Lyn looks like with the helmet off. Every design before actually beginning to see the animatics and the animatics is the barest form. It's a digital storyboard or a moving storyboard. And even those were so pretty. I was like, "we could air this, fuck finishing, let's air this"! Let's just say thankfully Powerhouse push to finish it because the finished product is gorgeous. You can't just put out the pencils, you gotta ink this thing! I would! I come from comics, so I like when they do. So I love when they do Batman Black and White and just letters inked and pencils version. So I could have dealt with it, but people will be delighted to see how colorful the whole thing is. *Not for nothing. I love your Green Hornet. It was so great, I didn't expect to like the character, I mean, I liked what you did in comics, but I was just like, "Oh, this is a really great thing". It was drawn really awesome. * Jonathan Lau, man. He made that him and Phil. Phil Hester took my stuff and then he broke it down. Um, but wow. They turned it into a beautiful book. What was so satisfying about that for me was at the end of when I read all the books together, all the comics together... I was like, "It would have worked. We could have pulled that off as a movie!" Somebody could have, not me! *Absolutely. And coming up with comics and you are reading Batman, you are reading Spider-Man. You don't think of Green Hornet for comics, but you can do something cool with it. I could talk to you all day! * I tried to come up with the best "Cantina" question for you, one that I would ask on your podcast Fatman Beyond and not be embarrassed. But before I get to that, I watched the scene last night with the Ball Lickers, on the "Mooby's Internet" internet. So, you know, people get a chance to come down here and they can... ...and actually relive it. You are the ones who are the Ball Lickers! They can just do that from their phones! That was just so funny. But my, my "Ultimate Cantina Question" is about the Snyder Cut! Let's say Warner or whoever gives you $30 million dollars to redo a Kevin Smith movie, or to redo the CGI. What Kevin Smith movie would you give the #SnyderCut treatment to? Is it Tusk? I would go Red State. I would just shoot the ending. We cheaped out at the ending because we don't have any money. So, the ending was supposed to be the apocalypse. Angels showing up, slaying people and shit like that, these giant angels. So at a certain point, we were like "Alright, do you want to shoot the ending of that movie and that ending?" "Do you want to wait to shoot that movie in that ending for however long it takes to find the money for it?" "...or do you want to shoot a version of the movie now where you've let go of the supernatural element that was in the last scene?" So then I changed it to him being over the loudspeaker and "it was a hoax and blah, blah, blah". So if I had like #SnyderCut money, I'd go back and I would shoot the angels show up, ending like the apocalyptic world ending. I'd have a lot of money left over! But I think that would be the one that I would love to take in the direction of the original vision. And I love Red State what it became and stuff, but that ending would have been so fucking weird. Do617: Well, you know, when people after seeing this interview, they might demand the release of the #SnyderCut of Red State. KS: Release the #RedderCut! Yes! Well, I'm just so happy to talk to you, man. I'm really excited to be here at Mooby's. Thanks for helping out Boston. Thanks for helping out everybody here at the House of Blues Restaurant and, everybody makes a couple of bucks and people can have some fun doing it because you came here. I think this is a perfect time. just about to open up. This is like a preview. This is a preview of the good time for the summer that's going to come. They were asking me when I rented the car today, when I was leaving Logan, the lady was like "You're from, California, how is it about there? I was like "the exact same thing as it is here. You guys are about to open". That's been the fun part of taking Mooby's around the country is that it's always at a restaurant that's been closed for a while. So it's good for the business. It's also good for the staff morale. You can forget when you're in the restaurant business, your friends are your coworkers, you see them every day. A lot of folks haven't seen their friends for a year and stuff. "Zoom Cocktail Hour" just doesn't cut it. It really, really doesn't at the end of the day. At the end of the day, being in a room with people, human interaction, I'm not saying you got to lick each other's faces and shit..being in a room with people and talking and nothing will replace it. Well, thanks so much, Kevin. It's an honor, man! Damn pleasure man! ** BUY TICKETS AT THE LINK ABOVE AND LEARN MORE: http://moobyspopup.com (http://moobyspopup.com)** Special Guest: Kevin Smith.

In this special bonus episode of our season on the awesome movie year of 1996, we’re talking about Christopher Guest’s influential comedy Waiting for Guffman. Directed and co-written (with Eugene Levy) by Christopher Guest and starring Guest, Levy, Fred Willard, Catherine O’Hara, Parker Posey and Bob Balaban, Waiting for Guffman premiered at the 1996 Boston Film Festival and was released in theaters in early 1997. The post Waiting For Guffman (1996 Bonus Episode) appeared first on Awesome Movie Year.

TGWWF is on the road! Look behind the scenes of the journey to our U.S. premiere at the Boston Film Festival. This year, audiences have shrunk, but Christian still gets to experience the live event with her son, Hunter. Jason and Josh finish up the podcast without Christian, discussing upcoming film festivals and reveal a new addition to the team.

David Paterson joins the discussion of moments leading up to the much anticipated Official Selection screenings! The USA Premiere of TGWWF is quickly approaching as the Boston Film Festival will host the USA Premiere in less than a week on September 24! The Lady Filmmakers Festival in Los Angeles screens the day after on September 25 with a panel including editor Bill Ebel, and special guests all the way from France, Flo and Dany. Christian Taylor plans to attend the World Premiere at the Chagrin Documentary Film Festival in Ohio on October 10, 2020. Christian explains what it takes to obtain a quick turnaround on deliverables film festivals may ask for. David Paterson presents the big picture of this year's circumstances causing many to adopt a mentality similar to a herd of cattle.

My guest today is Jason Soudah a Composer/Singer-Songwriter/Producer/Mix Engineer from the UK, and has been based in Los Angeles since 2009, when he was invited to intern at Hans Zimmer’s studio complex.  Jason was quickly recruited by composer Matthew Margeson (Rocketman, Kingsman: The Secret Service & The Golden Circle, Rings), and they have been collaborating ever since.   In this “additional music” capacity, Jason has also worked with composers Henry Jackman, Dominic Lewis, Heitor Pereira, Jim Dooley, Al Clay, Daniel Heath, Benjamin Wallfisch, and Ryan Taubert, among many.  As a composer Jason recently won the Best Music Award at the 2019 Boston Film Festival for his score to the movie "Whaling," as well as scoring the multi-award winning Horror Feature "FOLLOWED", and the Emmy-Awarded Documentary Feature “Paradise Reef: The World Is Watching.”   Jason has had songs featured on MTV (The Real World, Teen Mom…). He wrote “A Sporting Chance” for the movie “Eddie The Eagle,” “Ladyphones” for the movie “GI-JOE: Retaliation,” and co-wrote “Handy Candy” for the movie “Miss Peregrine’s Home For Peculiar Children” with composers Matthew Margeson and Mike Higham.  Right now, Jason is writing music for multiple film projects, mixing scores (most recently for BAFTA-supported composer Emily Rice), and collaborating with other songwriters and artists (as a co-writer and/or producer) with a view to creating songs for synch licenses, for the artist/s themselves, or to be cut by other artists.  Jason also produces backing tracks for KIDZ BOP, collaborating with Gary Philips. Thanks to our sponsors! WhisperRoom: https://whisperroom.com Get 10% off the 4x4 or 4x6 booths now when you mention Recording Studio Rockstars: http://whisperroom.com Spectra1964: https://www.spectra1964.com Eventide: https://www.eventideaudio.com OWC - Other World Computing: https://www.OWC.com RoswellProAudio: https://roswellproaudio.com RSR Academy: http://RSRockstars.com/Academy Want to learn more about mixing? Get Free mix training with Lij at: http://MixMasterBundle.com Hear more on Youtube If you love the podcast, then please Leave a review on iTunes here CLICK HERE FOR SHOW NOTES AT: http://RSRockstars.com/234

About Brett Hedlund Brett Hedlund is known for his work on The Stand at Paxton County (https://www.imdb.com/title/tt8362228?ref_=nmbio_mbio) . About Alex Ranarivelo Alex Ranarivelo was born in Saint-Jean-d'Angely, France. His family moved to the United States when he was six years old. After High School, Alex attended the Art Center College of Design, where he graduated at the top of his class with a B.F.A in film production. His thesis film was a 35mm short film about street-racing called "The Last Race", based on his experiences as a street-racer. He made his feature debut with a self-financed romantic comedy: "Alpha Males Experiment" (aka "Knuckle Draggers"). It won multiple awards on the festival circuit and placed in Best of Fest's top 10 Comedies of the year. Having proven his filmmaking skills with "Alpha Males", Alex landed his first directing job: "Born To Race", a teen action film that he co-wrote. This kicked off a long standing relationship with production company ESX Entertainment. That same year, Alex's Western script "The Girl With No Name" won the Grand Prize at the Slamdance Film Festival Screenwriting Competition and was subsequently optioned by Co-Op Entertainment. Impressed with Alex's ability to direct both drama and action and to handle stories with a wide variety of tones, ESX hired Alex to direct 8 more films, many in the sports-movie genre. Most notably "American Wrestler: The Wizard", starring Jon Voight and William Fichtner, which won numerous awards and swept the Boston Film Festival with "Best Picture", "Best Screenplay", "Breakout performance" and "Best Ensemble." And also "Ride" starring Chris 'Ludacris' Bridges, the true story of a troubled white neo-Nazi teen adopted by a mixed-race couple. A prolific, visual and collaborative storyteller, Alex prides himself first and foremost with the performances of his cast. He has worked with veteran actors such as Jane Seymour, Sharon Stone, Lea Thompson, Tommy Flanagan and Kevin Dillon. Lowtree Studios Podcasts www.lowtreestudios.com (http://www.lowtreestudios.com)

Boston documentary filmmaker Bestor Cram founded and also serves as creative director for the Boston-based documentary film and museum production company called Northern Light Productions. He has had films screened at Sundance Film Festival, The Boston Film Festival, The Austin Film Festival, the International Documentary Film Festival Amsterdam, The Woods Hole Film festival and many others.Titles include the film How Far Home about the dedication of th Vietnam Veterans Memorial in D.C., Birth of A Movement, Johnny Cash at Folsom Prison, Circus Without Borders and coming soon a documentary about American Blues harmonica player James Cotton.We met with Bestor at The Better Sorts Social Club to talk about the great James Cotton, but also about another documentary - JFK: The Last Speech – the very last public speech John F. Kennedy gave before he was assassinated three weeks later. We were fortunate to have Roger Hirschberg, Amherst College Class of '64 join us who was actually present when JFK gave the speech.  It made for a great discussion.

This week we try to make sense of The Heart Specialist, a film that premiered at the Boston Film Festival in 2006 but didn't hit theaters until 2011 (to capitalize on Zoe Saldana's rise to stardom in Avatar). It's unfocused, disjointed, oddly-edited and yet... it made us laugh? We're probably both going mad, and this is probably the worst film we've done so far, but we actually didn't hate this very, very weird ride.

Hey there word nerds! Today I am delighted to have author Howard Kaplan on the show! Howard is a native of Los Angeles, but he has lived in Israel and traveled to numerous places across the world, including Lebanon, Syria, and Egypt. He also has had some incredible adventures in the former Soviet Union which, along with his time in Syria, inspired bestselling thriller The Damascus Cover. Published forty years ago to rave reviews, The Damascus Cover is finally coming to the big screen. The movie debuted in September 2017 at the Boston Film Festival, and is scheduled for release everywhere this spring. Listen in as we talk about this bestseller, the art of film, and how to take a story from page to screen. In this episode Howard and I discuss: The importance of endings, and how to do them right. How to use film to elevate your story. Kill your darlings, knowing what to cut on the page vs. the screen. When your characters come to life, what to expect when working with actors. Setting the right tone in scene one for a book and a movie. Plus, Howard’s #1 tip for writers. For more info and show notes: DIYMFA.com/182

Join Tony DUrso, Host of The Spotlight as he interviews The Damascus Cover author, Howard Kaplan. Howard, a native of Los Angeles, lived in Israel and traveled extensively through Lebanon, Syria and Egypt. When he was 21, while attending school in Jerusalem, he was sent on a mission into the Soviet Union to smuggle out a dissident's manuscript on microfilm. His first trip was a success. However, On his second trip to the Soviet Union, he was arrested in Ukraine and interrogated for two days and again for two days in Moscow, before being released. He is the author of four novels. Also, The World Premier of the movie: The Damascus Cover, starring Jonathan Rhys Meyers and Sir John Hurt debuted at the Boston Film Festival, September 23. Joining Tony as Special VIP Co-Host is The Ambassador of Happiness® Maura Sweeney. Join us on The Spotlight with Tony DUrso on the Voice America Influencers Platform!

Join Tony DUrso, Host of The Spotlight as he interviews The Damascus Cover author, Howard Kaplan. Howard, a native of Los Angeles, lived in Israel and traveled extensively through Lebanon, Syria and Egypt. When he was 21, while attending school in Jerusalem, he was sent on a mission into the Soviet Union to smuggle out a dissident's manuscript on microfilm. His first trip was a success. However, On his second trip to the Soviet Union, he was arrested in Ukraine and interrogated for two days and again for two days in Moscow, before being released. He is the author of four novels. Also, The World Premier of the movie: The Damascus Cover, starring Jonathan Rhys Meyers and Sir John Hurt debuted at the Boston Film Festival, September 23. Joining Tony as Special VIP Co-Host is The Ambassador of Happiness® Maura Sweeney. Join us on The Spotlight with Tony DUrso on the Voice America Influencers Platform!

Join Tony DUrso, Host of The Spotlight as he interviews The Damascus Cover author, Howard Kaplan. Howard, a native of Los Angeles, lived in Israel and traveled extensively through Lebanon, Syria and Egypt. When he was 21, while attending school in Jerusalem, he was sent on a mission into the Soviet Union to smuggle out a dissident's manuscript on microfilm. His first trip was a success. However, On his second trip to the Soviet Union, he was arrested in Ukraine and interrogated for two days and again for two days in Moscow, before being released. He is the author of four novels. Also, The World Premier of the movie: The Damascus Cover, starring Jonathan Rhys Meyers and Sir John Hurt debuted at the Boston Film Festival, September 23. Joining Tony as Special VIP Co-Host is The Ambassador of Happiness® Maura Sweeney. Join us on The Spotlight with Tony DUrso on the Voice America Influencers Platform!

Join Tony DUrso, Host of The Spotlight as he interviews The Damascus Cover author, Howard Kaplan. Howard, a native of Los Angeles, lived in Israel and traveled extensively through Lebanon, Syria and Egypt. When he was 21, while attending school in Jerusalem, he was sent on a mission into the Soviet Union to smuggle out a dissident's manuscript on microfilm. His first trip was a success. However, On his second trip to the Soviet Union, he was arrested in Ukraine and interrogated for two days and again for two days in Moscow, before being released. He is the author of four novels. Also, The World Premier of the movie: The Damascus Cover, starring Jonathan Rhys Meyers and Sir John Hurt debuted at the Boston Film Festival, September 23. Joining Tony as Special VIP Co-Host is The Ambassador of Happiness® Maura Sweeney. Join us on The Spotlight with Tony DUrso on the Voice America Influencers Platform!

Join Tony DUrso, Host of The Spotlight as he interviews The Damascus Cover author, Howard Kaplan. Howard, a native of Los Angeles, lived in Israel and traveled extensively through Lebanon, Syria and Egypt. When he was 21, while attending school in Jerusalem, he was sent on a mission into the Soviet Union to smuggle out a dissident's manuscript on microfilm. His first trip was a success. However, On his second trip to the Soviet Union, he was arrested in Ukraine and interrogated for two days and again for two days in Moscow, before being released. He is the author of four novels. Also, The World Premier of the movie: The Damascus Cover, starring Jonathan Rhys Meyers and Sir John Hurt debuted at the Boston Film Festival, September 23. Joining Tony as Special VIP Co-Host is The Ambassador of Happiness® Maura Sweeney. Join us on The Spotlight with Tony DUrso on the Voice America Influencers Platform!

Join Tony DUrso, Host of The Spotlight as he interviews The Damascus Cover author, Howard Kaplan. Howard, a native of Los Angeles, lived in Israel and traveled extensively through Lebanon, Syria and Egypt. When he was 21, while attending school in Jerusalem, he was sent on a mission into the Soviet Union to smuggle out a dissident’s manuscript on microfilm. His first trip was a success. However, On his second trip to the Soviet Union, he was arrested in Ukraine and interrogated for two days and again for two days in Moscow, before being released. He is the author of four novels. Also, The World Premier of the movie: The Damascus Cover, starring Jonathan Rhys Meyers and Sir John Hurt debuted at the Boston Film Festival, September 23. Joining Tony as Special VIP Co-Host is The Ambassador of Happiness® Maura Sweeney. Join us on The Spotlight with Tony DUrso on the Voice America Influencers Platform!

"Damascus Cover" cleaned up at the Boston Film Festival: we speak with Howard Kaplan whose 40 year old thriller inspired the movie. CBS' Bob Schieffer has a new book about the state of journalism in the Trump era. Then Eleanor Henderson talks to us about her American epic set in 1930s rural Georgia. See omnystudio.com/policies/listener for privacy information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Howard Kaplan, author of The Damascus Cover and Bullets of Palestine, talks to Sean Tuohy about how being a shy kid led him to storytelling, his appearance at Boston Film Festival on Sept. 23 to promote the film adaptation (Jonathan Rhys Meyers, John Hurt, and Olivia Thirlby), and why he wanted his thrillers to have underlying messages. Learn more about Howard Kaplan by visiting his official website, liking his Facebook page, or following him on Twitter @kaplanhow. Today's episode is sponsored by Novelize, The Wild Pitch Podcast, and Sid Sanford Lives! 

The Two Storks is a transformation-into-an-animal yarn from what is now Iraq, though it hasn’t always been called that. It takes place in the city of Baghdad, which has been called that for just about as long as anyone can remember. Like certain other tales, including Ali Baba and the Forty Thieves and The Sorcerer’s Apprentice, it features a plot complication in the form of a magic spell that the person casting it is unable to reverse. We come to you from Nickerson State Park on beautiful Cape Cod, Massachusetts, where we’ve been catching up on our biking. We’ve ridden the entire Cape Cod Rail Trail (22 miles) roundtrip, which means at least 44 miles, plus several more miles in side trips. We’ve finally concluded our summer season, our second busiest ever, and picked up a late addition of two performances at the Pawtucket Arts Festival in Rhode Island. We’ve also managed to make it into Boston a couple of times, including an attendance of the short film session of the Boston Film Festival. One of the films we saw, A Man Wakes Up, was a hilarious film without dialogue, written by and starring Amos Glick, who happens to be one of our former cast members, way back when we were still based in San Francisco about a million years ago. He didn’t know we were coming, and the look on his face was priceless when he spotted us in the lobby and slowly figured out who we were. Just goes to show you: you’d better watch out, because you never know when we may pop in. Happy Listening,Dennis (Prince, Omar, Guard) and Kimberly (Narrator, Adviser, Wizard, Princess)  

New "Kahnversations" Podcast with Actor Todd Stashwick!     In this special, post Comi-Con installation of "Kahnversations," we interview Todd Stashwick, star of Syfy Channel's 12 MONKEYS. Todd’s first professional dream was realized at a young age when he was hired to tour the country with Chicago’s famous The Second City. Following productions at The Second City Detroit and The Second City Northwest, Todd moved to New York. There, he formed a company of improvisers and began staging the underground critically acclaimed BURN MANHATTAN all over the city. Other performers often included Kate Walsh and Jeremy Piven. Work in television and film drew him to Los Angeles where he shot several pilots, series and recurring work. Todd has been seen in such films as the Blumhouse Thriller, MOCKINGBIRD; YOU, ME AND DUPREE; SURFER DUDE; THE AIR I BREATHE; and LIVE!. In addition, he starred in the independent film TO BE FRIENDS, written and directed by Jim Eckhart and produced by Aaron Eckhart, which opened The Boston Film Festival. He will soon be seen in JANE GOT A GUN opposite Natalie Portman and Ewan McGregor. Most notably, Todd is known for his role as Dale in the FX series THE RICHES opposite Minnie Driver and Eddie Izzard. Other favorites include SUPERNATURAL, portraying Bela Lugosi's Dracula, and roles in such shows as GOTHAM (recurring), ORIGINALS (recurring), HEROES (recurring), WEEDS (recurring), TEEN WOLF (recurring), JUSTIFIED (recurring), BURN NOTICE (recurring), as well as comedies like THE EXES, DHARMA AND GREG and WILL AND GRACE. He was excited to be part of the Seinfeld reunion episodes of CURB YOUR ENTHUSIASM where he played NBC president Sandy Goodman. In addition to acting Todd has launched several writing projects over the last few years, including the web-comic strip DEVIL INSIDE (a collaboration with writer/artist Dennis Calero). He also sold and developed a pilot for Syfy that he wrote with Dennis Calero. Realizing another dream, he is currently co-writer on the STAR WARS video game for Visceral games and Electronic Arts, headed by the influential game developer and director, Amy Hennig. Todd enjoys surfing, is a vicious cinefile and loves to travel. He has a minor obsession with turn of the century Coney Island. A shameless geek, he’s an avid gamer and lover of comic books, sci-fi and horror. His love of improv remains strong and he continues to perform and teach at festivals, both at home and abroad. He lives with his family and too many pets in the Los Angeles area. You can download or subscribe to the podcast for FREE by clicking below. If you like “Kahnversations,” feel free to leave a rating or review on our iTunes page!  __________________________________ So many inspiring podcasts out there allow us to hear all about how well-established stars got to where they are today. But those actors are so faaaaaaar away from where so many of us are today! Wouldn’t it be great to hear from the guy who just booked his first pilot? Or the kid finally doing a studio pic after a bunch of low budget indies? Or the woman who’s been a series regular a few times but is only now becoming a name? What about the guy who’s been on a show for years and you know his face but what’shisnameagain? Or that actress who is now a freakin’ showrunner???? How’d THEY do it, right? How did they transition from relative obscurity, bartending and bottle service, to buying that house in the hills? We’re producing “Kahnversations,” a podcast that provides access to THOSE people -- your immediate predecessors -- so that you can learn from them while their battle scars are still fresh. In “Kahnversations,” our own Ryan Bailey interviews some of Lesly Kahn & Company’s working actors, directors, and writers in order to learn how they got started in Hollywood, the challenges and hurdles they faced, and how they overcame the odds. (They also dish out some crazy stories!) Listen in and enjoy as these entertainers speak candidly about their paths, processes, and experiences. You might even hear a bit about how Lesly and the Kahnstitute have influenced and shaped their careers.    

Thanks for tuning in Subject:CINEMA, now in our  SEVENTH Year of podcast fun....(gasp!) THIS WEEK: It's a FIETHTA! A FETHIVAL FIETHTA! Subject:CINEMA's first annual Fall Fehtival Fiethta has EIGHT festivals full of films we're interested in, and we hope you'll check our picks out and then check out the festivals - some past, some still to come - and let us know what YOU want to see! Our complete coverage of the 28th Annual Boston Film Festival is included, as are looks at films from Venice, Toronto, Telluride, Fantastic Fest, New York, Aspen, and Woodstock! Reviews of two films from the Boston Film Festival, WOLVES UNLEASHED and STRANGLEHOLD: IN THE SHADOW OF THE BOSTON STRANGLER And our tribute to one of the best crooners of all time, the incomparable Andy Williams! And DON'T YOU DARE MISS next week's show - SCREEN SCREAMS 2012 gets underway - this year it's "On The Map" - scary locations with shows devoted to Transylvania, Victorian London, Summer Camp, and Salem Massachusetts!   DONATE TO THE AURORA VICTIMS FUND You can help the many victims of the Aurora CO shootings by giving generously - please help them get through this tragic time and donate today at https://givingfirst.org/index.php?section=content&action=dynamic&cmsID=36    Check out Subject:CINEMA MICRO Focus, every Thursday evening, 9 PM ET US!  It's a  show focusing on one film, backwards and forwards, up and down, front to back and side to side each week!   Thanks to ALL of you who take the time to listen to Subject:CINEMA. Now, if we can just get those of you out there to WRITE or CALL once in a while...that would be AWESOME! Email us at subjectcinema@popcornnroses.com or call us TOLL FREE at 1-888-214-9311!   SAVE OUR SCREENS! The Gull Road Cinema Five in Kalamazoo, MI is asking for donations to help fund a move to a new location, so please help this neighborhood theater stay alive by donating at https://secure.dataconstructs.com/gullroadcinema/pledge_now.htm Also, please take the time to help out the Towne Cinema in West Liberty, KY. This small underground theater, West Liberty's only real source of entertainment, was destroyed by an F3 tornado on March 2, 2012, and they need help to get the funds to get a new cinema built and running. Donations are being taken in through IndieAGoGo and we ask you to pop over there and see the massive damage and to make a donation TODAY - WEST LIBERTY NEEDS YOU!!! Also please continue to help out the following theaters if you can - we know the economy is tight, but a few bucks here and there can REALLY make a difference! Davis Theater, Higginsville MO needs your help with their digital conversion: http://www.nbcactionnews.com/dpp/news/region_missouri/higginsville-tries-to-save-its-davis-theatre-4 SeedSeattle is trying to reopen Columbia City Cinema in Seattle - http://www.seedseattle.org/donate.html Remember, you can find the complete calendar of upcoming shows on our websites! DOWNLOAD a printable quarterly calendar for you to print out and hang up to remind you to catch the latest episode - head on over to SubjectCINEMA.Com and click "Download our Calendar" now! The Summer Calendar for both SC and SC MicroFocus will be up later this week! Subject:CINEMA is brought to you by:  eMusic Now with  over TEN MILLION choices for great tunes - and by visiting http://emusic.com/cinema , you will get 35 FREE DOWNLOADS during your 14 day trial! Check it out today! Check out all our great deals in one central spot, right here at MevioCoupons.Com *** E-mail us at subjectcinema@popcornnroses.com Want to take S: C With you? Now you can - SC is now Mobile via iPhone! Check us out today - all the latest S:C podcasts plus EXCLUSIVE features coming soon! Call us with your comments! 1-888-214-9311 TOLL FREE in the US and Canada! Wanna hear us anywhere? Now you CAN! Subject:CINEMA Mobile for iPhone is now here! Get it at iTunes NOW!

THIS WEEK'S EPISODE: This week we've got a wrap up of the Boston Film Festival scene for the spring, including overviews of the Boston Irish Film Festival, The Boston Underground Film Festival, the Boston International and the Independent Film Festival Of Boston, including a whopping NINE film reviews - BEING ELMO: A PUPPETEERS JOURNEY; THE BENGALI DETECTIVE; THE TROLL HUNTER; CONVENTO; THE FUTURE; BENEATH CONTEMPT; THE CITY DARK; PROJECT NIM; and 13 ASSASSINS! Plus - your e-mail; a Scream And Shout ;a Bonehead of the Week; a new Save Our Screens theater call to action (see below); and a review of this summer's first blockbuster, THOR! Extensive show notes, with links and all kinds of commentary, are available on our website every Tuesday evening - check it out at http://subjectcinema.com . And while you're there, look around, leave a comment, and let us know what you think of the new website! Thanks to ALL of you who take the time to listen to Subject:CINEMA. Now, if we can just get those of you out there to WRITE or CALL once in a while...that would be AWESOME! Email us at subjectcinema@popcornnroses.com or call us TOLL FREE at 1-888-214-9311! Remember, you can find the complete calendar of upcoming shows on our websites! DOWNLOAD a printable quarterly calendar for you to print out and hang up to remind you to catch the latest episode - you can get the BRAND NEW Winter/Spring 2011 edition of the calendar right here !Subject:CINEMA is brought to you by: eMusic Now with  over TEN MILLION choices for great tunes - and by visiting http://emusic.com/cinema , you will get 35 FREE DOWNLOADS during your 14 day trial! Check it out today! CCS.COM The ULTIMATE source for all the best prices on skateboarding and snowboarding clothes and equipment! All the top name brands - Volcom, Burton, Vans, DC, and all the rest - we've got 'em all right here! And look at what ELSE we've got for you: savings codes! AFCINEMA - Free shipping on orders $30+ AFSUBCIN - 15% off orders $75 or more + Free Shipping Online Only; Some Exclusions May Apply Check out all our great deals in one central spot, right here at MevioCoupons.Com *** E-mail us at subjectcinema@popcornnroses.com Want to take S: C With you? Now you can - SC is now Mobile via iPhone! Check us out today - all the latest S:C podcasts plus EXCLUSIVE features coming soon! Call us with your comments! 1-888-214-9311 TOLL FREE in the US and Canada! Wanna hear us anywhere? Now you CAN! Subject:CINEMA Mobile for iPhone is now here! Get it at iTunes NOW! We hope you'll spread the word about Subject:CINEMA to your friends - we love having all the listeners we can get! And Thanks For Listening!  

Hey guys - sorry our schedule has been a bit messed up lately...things have been hectic around here... This week on Subject:CINEMA, we take a look at Police in the movies! Plus our Bonehead of the Week, and complele coverage of 26th annual Boston Film Festival, with reviews of FIVE films - LOCKED IN, MISS NOBODY, CONVICTION, CHERRY, and WELCOME TO THE RILEYS! Don't forget to stop by our main websites on Popcorn N Roses and Subject:CINEMA for a few little show note bonuses... Thanks to ALL of you who take the time to listen to Subject:CINEMA. Now, if we can just get those of you out there to WRITE or CALL once in a while...that would be AWESOME! Email us at subjectcinema@popcornnroses.com or call us TOLL FREE at 1-889-214-9311! Subject:CINEMA is brought to you by: eMusic Now with  over TEN MILLION choices for great tunes - and by visiting http://emusic.com/cinema , you will get 35 FREE DOWNLOADS during your 14 day trial! Check it out today! CCS.COM The ULTIMATE source for all the best prices on skateboarding and snowboarding clothes and equipment! All the top name brands - Volcom, Burton, Vans, DC, and all the rest - we've got 'em all right here! And look at what ELSE we've got for you: savings codes! AFCINEMA - Free shipping on orders $30+ AFSUBCIN - 15% off orders $75 or more + Free Shipping Online Only; Some Exclusions May Apply Check out all our great deals in one central spot, right here at MevioCoupons.Com *** E-mail us at subjectcinema@popcornnroses.com Want to take S: C With you? Now you can - SC is now Mobile via iPhone! Check us out today - all the latest S:C podcasts plus EXCLUSIVE features coming soon! Call us with your comments! 1-888-214-9311 TOLL FREE in the US and Canada! Wanna hear us anywhere? Now you CAN! Subject:CINEMA Mobile for iPhone is now here! Get it at iTunes NOW! We hope you'll spread the word about Subject:CINEMA to your friends - we love having all the listeners we can get! And Thanks For Listening!  

It’s all Bean Town, all the time! You don’t have to be a Townie to see and discuss Ben Afflecks new movie The Town. So whether you’re from Brookline, downtown, Jamaica Plan, Roxbury, Brighton, Allston, Somerville or even Dorchester we invite you to take part in our discussion. Also in this episode we talk about our experience at the Boston Film Festival, we air our interview with director Tim Cox and we cap it off with a wicked good top 5 Bank Robbery movies.

The most entertaining weight loss and fitness podcast show on radio." Please click on the POD button to listen to the latest Dr. Fitness and the Fat Guy radio show podcast broadcasting live each week from Atlanta, GA, USA.    On tonight's show, Dr Fitness and the Fat Guy get the skinny about how you can lose boatloads of weight without gastric bypass surgery or crazy fad diets. Imagine that! First we had on Gary Marino who lost 150 pounds through the amazing eat less and exercise more diet and later on the show we had Lisa Delaney, Health magazine editor who went from 185 pounds to a size two and kept it off for nearly 20 years using similar methods. Lisa, author of "Secrets of a Former Fat Girl" shared lots of weight loss tips from her inspiring memoir tonight. She encouraged overweight women to keep their weight loss attempt a secret because of the people who will try and undermine you. A lot of time your family members will try and sabotage you by teasing you or overly scrutinizing your food choices so you have got to be ready for that. She also told our listeners what it was like when she hit rock bottom and what she did to transform herself from a fat girl to an avid marathon runner. You can get more information about Lisa, her book and her great blog at www.formerfatgirl.com Gary Marino is on a mission to help fight obesity. He has gone from being a 397 pound hopeless food addict to a nearly svelte 240 pound healthy activist for change. Gary went on a Million Calorie March down the Eastern Seaboard in an effort to bring attention to the obesity crisis that is gripping America (especially our youth). He has raised hundreds of thousands of dollars for this cause and has helped inspire thousands of people to lose weight. Gary's book "Big & Tall Chronicles: Misadventures of a Lifelong Food Addict" tells his uplifting story in a humorous and poignant way. And soon you'll be able to watch the movie version of the book "Million Calorie March: The Movie" will be released later this year at the Boston Film Festival. For more information on Gary and all the things he's up to check out his website www.millioncaloriemarch.com Tonight we also had on two of the biggest bloggers out there... Sweet Susi May from FitSugar and Peter Ha from CrunchGear. You have to listen to their segments with a paper and pencil handy because they were throwing out great gadgets, gear and websites left and right. Susi in her regular FitSugar segment to our show had great fashion gear tips for the ladies. Did you know that there is a new bikini for women that has a drawstring so you can be active at the beach without any fears of losing your bottoms? I did not know that but Susi did. She also had some tips about the dangers of soda and a new water bottle that holds two beverages in one bottle. Amazing. Ladies, if you are not going to FitSugar everyday you are seriously missing out. they are blogging like 20 times a day with all the latest recipes, fitness gear, celebrity news, exercise tips. FitSugar and all the Sugar blogs should be on your must read list each day. Check them out at www.FitSugar.com And guys for the first time in Dr Fitness and the Fat Guy history we had on someone from CrunchGear, part of Michael Arrington's empire. CrunchGear doesn't always have fitness gear there (that's why the Fat Guy likes it) but it is the place where the Fat Guy finds out about all the latest gadgets and computer stuff. So if you want to know how the new iPhone is performing or a what is the latest must have computer accessory CrunchGear is the place to look. I get it in my inbox everyday. So tonight Peter Ha, updated us on what is the latest gadgets for marathon training and getting more enjoyment out of outdoor activities. There is a new watch that counts calories, a new accessory for the Wii and a bunch more stuff that you should know about. To learn more about CrunchGear and subscribe to their blog go to www.CrunchGear.com   The Doctor didn't have any tips tonight because we ran out of time but he did get fired up about the media created bottled water controversy regarding Aquafina and Dasani actually being tap water. You have got to hear him rant about that.Kathie Larkin was in the studio and she gave an inspiring story about how she started running.And she ran all the way to her boyfriend Tom's house who lives almost a mile away from her. You know Kathie as the host of Real Savvy Moms.  Real Savvy Moms is a great show for moms that is available on most Public Broadcasting Stations around the US and online. Remember Kathie is one of the top feet and legs model's out there... she is so hot she got to be a body double for Alyssa Milano in that Veet commercial that is on TV 24 hours a day. Be sure to check out Kathie's website www.getkathie.com. Also check out her hosting skills on www.RealSavvyMoms.com. Remember we are now on every morning in Michigan. On radio station WKNW. They asked us to create a Dr Fitness and the Fat Guy "Wellness Minute." So now a new Wellness Minute runs on that station each morning at around 7:40. Each Wellness Minute features the doctor and I going over 5 of his best tips on a given wellness subject like: losing weight, getting in shape, living a healthy lifestyle, etc. We're working on ways to make those tips available to all our listeners. If you have a favorite radio station that you think would benefit from our Wellness Minutes send them an email telling them about it and who knows maybe you can hear us everyday too. Also once again, I need you to please do me a favor. My nine year kid Max made his radio debut in his new show "Kid Power Radio." This is a great show for your kids. It is kind of like a kids version of David Spade's "Showbiz Show" on Comedy Central or Entertainment Tonight mixed in with a little Wayne's World. Max recaps the week in entertainment and gives his take and review of what he liked and didn't like on TV, at the movies, video games, in books and in music and even restaurant reviews. Please go to his site and download the show for your kid. And if your kid sends Max an email he'll read it on the air next week. The show can be found at www.kidpowerradio.com and you can email Max at RadioStarMax at Yahoo.com. Your encouragement is greatly appreciated.  Thanks to you this show is rocketing up the charts!!! As always, more laughs, more info and more fun than any other health, fitness, weight loss podcast out there. Click the podcast button and check out the entire show right now. Don't forget to check out the Doctor Fitness and the Fat Guy blog at www.weightlossradio.blogspot.com for more tips about weight loss and Dr. Shafran's analysis of all things health and fitness. Also check out our website www.drfitnessandthefatguy.com to subscribe to our FREE weekly healthy living newsletter. You can also email Dr. Fitness there with your specific questions and he will personally answer each one. Promise!! Please blog about our show. Our show grows when our listeners tell their friends about us. We need your help to grow our listener base so if you enjoy Dr Fitness and the Fat guy please forward this podcast to a friend and put links to our website and show on blogs and message boards you enjoy. Thanks!

Harvey Brownstone conducts an in-depth Interview with Tim Matheson, Acclaimed Actor, Author, “Damn Glad to Meet You”About Harvey's guest:Today's guest, Tim Matheson, is a highly popular and respected actor, director and producer whose portrayal of the smooth talking “Eric Stratton” - better known as "Otter" - in the blockbuster movie, “National Lampoon's Animal House”, made him a household name.  Some of his other movie credits include “Divorce American Style”, “Yours, Mine and Ours”, “How to Commit Marriage”, “Magnum Force”, “Almost Summer”, “1941”, “To Be or Not to Be”, “Fletch”, “A Very Brady Sequel”, “Van Wilder”, and “The Etruscan Smile”, for which he and his fellow cast members were named Best Ensemble Cast at the Boston Film Festival. And on television, he's brought us numerous memorable characters, including “Jim Horn” on “The Virginian”, “Griff King” on “Bonanza”, “Quentin Beaudine” in “The Quest”, “Dr. Brick Breeland” in “Hart of Dixie”, “Doc Mullins” in “Virgin River”, and of course, "Vice President John Hoynes" on the highly acclaimed TV series, “The West Wing”, for which he received 2 Emmy Award nominations for Outstanding Guest Actor in a Drama Series.   He's appeared in hundreds of TV shows going all the way back to “Leave it to Beaver”, “My Three Sons”, “Here's Lucy” and “Ironside”, as well as “Rhoda”, “Hawaii Five-O”, “Cybill”, “Without a Trace”, “Entourage”, “Burn Notice”, “CSI”, “Madam Secretary”, “This is Us”, and dozens more.  And you've seen him in a whole slew of TV movies and miniseries. Some of my favourites are “Blind Justice”, “The Littlest Victims”, “Little White Lies”, “Buried Alive”, “The Legend of Calamity Jane”, “Jackie Bouvier Kennedy Onassis”, “Martha Inc.: The Story of Martha Stewart”, “Judas”, and “Killing Reagan”, for which he was nominated for Best Actor at the Critics Choice Television Awards. And over the years, our guest has also directed many TV shows and TV movies.  In fact, he directed the pilot episodes for "The Good Guys" and "Covert Affairs."  AND NOW, he's released a highly compelling and insightful memoir entitled, “Damn Glad to Meet You: My Seven Decades in the Hollywood Trenches”, in which he shares his remarkable life journey, taking us behind the scenes of his iconic career.For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/To learn more about Tim Matheson, go to:https://www.facebook.com/TimMathesonOfficial/https://www.instagram.com/tim_matheson_official/@harveybrownstone,#harveybrownstone,@harveybrownstoneinterviews,#harveybrownstoneinterviews,#TimMatheson,@TimMatheson,#TimMathesonOfficial,@TimMathesonOfficial,#tim_matheson_official,@tim_matheson_official,#LucilleBall,#HenryFonda,#TheWestWing,#VirginRiver,#JohnBelushi,#AnimalHouse,#KurtRussell,#Bonanza,Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy