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Kristy throws it back close to home with an explosion that takes place at an explosives plant in 1975 that is now the site of the Douglas Square Shopping Centre in Calgary AB....But when you hear one man's story, you will be questioning destiny.Referenceshttps://calgaryherald.com/news/local-news/fortney-explosive-day-in-calgarys-history-almost-forgotten http://www.nakina.net/private/cilx.htmlhttp://www.republicofmining.com/2010/05/27/a-brief-history-of-unions-in-sudbury-%E2%80%93-c-anderson-august-1970/https://legionmagazine.com/en/2016/02/the-bomb-girls-of-ajax/https://www.thestar.com/yourtoronto/once-upon-a-city-archives/2016/06/04/once-upon-a-city-women-who-were-unsung-heroes-of-war-effort.htmlhttp://central.bac-lac.gc.ca/.redirect?app=fonandcol&id=4914693&lang=enghttps://en.wikipedia.org/wiki/Canadian_Industries_Limited Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.
NLR 100 LIVE WITH SPECIAL K! LIVE FROM CALGARY, AB https://soundcloud.com/kirstinmendoza
NLR 100 LIVE WITH BRAXTON. LIVE FROM CALGARY, AB https://www.instagram.com/jah_axton/
JBA. duh. Live from Calgary, AB https://soundcloud.com/mixedbyjba
NLR 100 LIVE WITH KUYA CJ. LIVE FROM CALGARY, AB https://www.instagram.com/kuyacj888/
NLR 100 LIVE WITH FRVNZ. LIVE FROM CALGARY, AB https://soundcloud.com/f_rvnz
THE NU BOUNCE CREW TAKES OVER NLR 095 LIVE FROM CALGARY, ALBERTA, CANADA! NLR 100 ANNOUNCEMENTS SOON. First half- sie_sie Second half- Reyabstract FOLLOW NU BOUNCE! https://soundcloud.com/nu_bounce
All good things Unfortunatley must come to an end, The Shooting Edge in Calgary AB is no more. Listen to JR Explian how Government Regulations. Greedy landlords and more lead to the Shooting Edges Closing. But most imortantly whats next.
When proposing an episode for this week's show, the goal was to put focus on a tour that we haven't discussed a whole lot on this podcast - the 2011 Canadian tour. The question here was which show would be the one to cover. So we crowd sourced it and got some great answers, but the best answer was a suggestion to do the episode in tribute of former Calgary Flames star, Johnny Gaudreau and his brother Matthew, who were tragically killed recently. This made the Calgary 2011 show a no brainer to talk about. There is a big storyline that looms over this show. This happened to be the same day that R.E.M. called it a career. Hearing the band react to the news and play a very impassioned touching tribute to them with the song It Happened Today has been the consensus call back moment from this show. Pearl Jam could have made a decision to play one of their more well known radio singles like Losing My Religion, Everybody Hurts or Man On The Moon, but we'll talk about how they selected the right song for the right moment. There are also songs in this setlist that connect to something that the band has done recently such as Brain Of J, Rats, Crazy Mary and even something relevant in concerns to Johnny Guitar! Visit the Concertpedia - http://liveon4legs.com Contact the Show - liveon4legspodcast@gmail.com Donate to the Show - http://patreon.com/liveon4legs
Send us a Text Message.This episode is a deep dive on the new Ghost Cartridge self-titled album. We catch up with rapper/producer Nate Schmold of Ghost Cartridge, and go back in time to discuss how his electronica roots transposed into a love of all things hip hop, how his radio show Cream Reefer led to a spark of live local hip hop shows in Calgary in the 2000's, reminisce about the era of his influential online label Neferiu Records. We then move on to discussing the Ghost Cartridge album. Nate gives us an update on how his partner in rhyme and ruckus Eqzn is doing, and the story of how they hooked up with Canadian Underground Rap Icon, D-sisive, for the first track of the album. This episode is produced by Max.
Hailing from Calgary AB, Polly Moody is a 40-year old mom-of-two, a full-time teacher, and 2:46 marathoner. What makes her story so compelling is just how much adversity she's had to overcome. After breaking the elusive 3-hour barrier (2:58:38) at the 2015 Boston Marathon without much dedicated training, Polly tried multiple times to go sub-2:55 and came up just a bit short each time. Instead of giving up, she kept mining for lessons and trying again until it eventually happened at CIM in 2018 where she ran 2:53:07. She followed that up with a 2:48:02 in Chicago 2019, but then early in the pandemic she suffered a serious ACL/meniscus injury that required surgery and a lengthy rehab. As her 30s came to a close, Polly figured her best running days were likely behind her but at the Chicago marathon in 2023 – at the age of 40! – she ran the race of her life in 2:46:34, which included a quick porta potty stop and a 90-second negative split! Under the guidance of a new coach, she's excited to return to Chicago in 2024 with hopes of cracking 2:45.A lifelong athlete, Polly only began taking running seriously after her kids were born but she's gained a ton of wisdom alongside her speedy times. We especially loved hearing how she uses trail running and 10k races to enhance her marathon training. Connect with Polly:Instagram: @mommytosubthreePolly's Podcast Appearances:Rambling Runner with Matt Chittim: Massive Knee Injury to a 2:46 at ChicagoRun Chats with @RonRunsNYC: Focusing on Joy & the Process to Find Her BestConnect with Carolyn & Kim:Email us with guest ideas: inspiredsolescast@gmail.comInspired Soles InstagramKim's InstagramKim's FacebookCarolyn's FacebookWe love hearing from you! Connect with us on Instagram @inspiredsolescast or email guest ideas to inspiredsolescast@gmail.com. If you enjoyed this episode, please share it with a friend, subscribe or leave us a rating and review on Apple Podcasts.
Join me for another episode of the Woo Curious Podcast, this time with guest Liz Tizzard. Super Duper Loud, and ADHD proud, Liz Tizzard is a wife to one Handy Andy of a man, and mom to two incredible Next Gen Men. With 46 countries under her belt, this wandering world traveller splits her time between Calgary AB, Windermere BC and whatever “Secret Life of Walter Mitty” adventure she can find. She lives her life out loud knowing that You Only Live Once, and has found a beautiful balance between bringing all the ENERGY to her online community, and nurturing her spiritual side in the quiet moments of real life. Her big beautiful personality shines throughout this episode as we delve into the winding path she walked towards embracing the woo and how her spiritual practice is unique to her and supports her in tapping into the full potential of her busy ADHD brain. There are so many nuggets of wisdom to be found in this episode, I hope you will tune in! You can find Liz, her epic dance parties and all her offerings @fungirlsfitclub on instagram. Doors are currently closed to step into 1:1 work with me for the summer, but I do have a few smaller offerings brewing and you can hop on the waitlist for Unleash Your Inner Witch: A beginner's guide to witchcraft for the woo curious which will start in September! #woocurious #adhd #adhdtools #spiritualityasatool #spiritualgrowth #femalepodcast #spiritualcoach #modernwitch
This week I give a few thoughts from Ground Zero—Ottawa during the week of May 6-10, 2024. Elaine and I have driven across the country from Northern BC to attend the National Prayer Breakfast and the National March for Life. We've also had the pleasure and privilege of meeting with CHP EDAs along the way. We met with members and others in Lethbridge and Calgary (AB), Broadview (SK), Winnipeg (MB), Sarnia, Listowel, Oro-Medonte/Orillia, Niagara West, Norwich, Ingersoll (ON) and will be touching base with others on our return through Northern Ontario, Saskatoon, Lloydminster and Morinville (near Edmonton, AB). Just a few thoughts from the nation's capital as we prepare for the March for Life.
McKenzie Lake, Calgary, Alberta: Population 13,290. A place best known for its 43 acre lake with sandy beaches, 80 person capacity Beach Club, and practically no restaurants (according to Google Maps). Jess Schmidt, host and creator of Rooked: The Cheaters Gambit, joins the show to discuss fake lakes, Alberta's most iconic ranching lifestyle influencers, Calgary's Southeast suburbs' spookiest hot spots, and more!Listen to Jess's podcast, Rooked: The Cheaters Gambit, on your favourite podcast platform now!Learn more about Jess here: jessdoespodcasting.comLinks:McKenzie Lake (Reddit)McKenzie Lake Residents AssociationFish Creek Provincial ParkFish Creek Provincial Park HistoryFish Creek (Twitter)Fish Creek FactsBow Valley Ranche RestaurantTreaty 7Canardian is the flagship podcast of Pod the North, the newsletter for the Canadian podcasting ecosystem from Kattie Laur.Check out Pod the North at podthenorth.com and share your Canadian podcasting news! Follow Pod the North on Instagram @podthenorthEmail Kattie at podthenorth@substack.comThe Canardian theme song is by Mark Allin and Kattie Laur, mixed by Jordan White, with vocals including Shane Fester, Brad Cousins, Ben Cousins.The Canardian podcast artwork is by Brad Cousins and Kattie Laur. Hosted on Acast. See acast.com/privacy for more information.
Heavy Equipment Technician Talk with Roy Tymkostina QuinteroRoy Tymko was born and raised in St. Paul, Alberta, Canada on a small mixed farm operation raising purebred Black Angus cattle. He was involved in minor hockey from a young age. As well as raising both steer and heifer livestock projects with the local 4-H club in both St. Paul and Elk-Point. He graduated high school in 2015 followed by getting his class 1 licenses soon after graduation. When off shift from work Roy enjoys helping on the family farm, attending farm / heavy equipment auctions, building, and tinkering with computers and enjoying the outdoors.Roy is an 4th year Heavy Equipment Tech. Apprentice with Finning Cat Based out of the D34 Facility in Calgary AB. His formal education would be his current 4-year Heavy Equipment Technician Apprenticeship and 2-year diploma with NWP on the ThinkBIG Program.However, after dealing with a few fall layoffs with road construction due to freeze up. Followed by looking for work in either plowing snow for contractors working under Alberta Highways or driving truck in the oilfield. It was time to diversify his skillset and go for a journey-person ticket in the trades. Roy applied for a paid apprenticeship as an ThinkBIG apprentice heavy equipment technician for Finning Cat based out of western Canada. Starting his career with Finning in the fall of 2019.ThinkBIG is a 20-month (80-week) heavy equipment service program created through a partnership between Northwestern Polytech, Caterpillar, and Finning. This globally recognized program that is designed to meet Alberta apprenticeship examination requirements and is only offered at one post-secondary institution in Canada. Over five 16-week blocks, you'll learn advanced technical knowledge and develop skills through a hands-on approach, working on Cat equipment. Each block is divided into eight weeks of class and lab time on campus and eight weeks of paid practicum at a licensed Finning location.DescriptionHeavy-duty equipment mechanics repair, troubleshoot, adjust, overhaul and maintain mobile heavy-duty equipment used in construction, transportation, forestry, mining, oil and gas, material handling, landscaping, land clearing, farming and similar activities. They are employed by companies which own and operate heavy equipment, and by heavy equipment dealers, rental and service establishments, railway transport companies and urban transit systems. Apprentices are also included in this unit group.Job ForecastThe employment outlook will be good for Heavy-duty equipment mechanics.Employment RequirementsThis is what you typically need for the job.Completion of a three- to five-year apprenticeship program or a combination of over four years of work experience and industry courses in heavy equipment repair is usually required to be eligible for trade certification.Agricultural equipment technician trade certification is available, but voluntary, in Newfoundland and Labrador, Nova Scotia, Prince Edward Island, New Brunswick, Ontario, Manitoba, Saskatchewan, Alberta and British Columbia. Heavy-duty equipment technician trade certification is compulsory in Quebec (only in the construction industry) and Alberta and available, but voluntary, in all other provinces and the territories.https://www.jobbank.gc.ca/marketreport/summary-occupation/7508/caNeed More?Check out our Career Crisis Interview Series:https://thejobtalk.com/help
The crue reconvenes after the season completing PBR Canada Finals at Rogers Place in Edmonton AB. Tanner, JD & Scott chat about the PBR Canada Finals highs and lows, recent hunting adventures, PBR UTB updates, 2024 Bull Riding rookie class, Agribition, and much much more. At 50:30 the Arizona Ridge Riders hot man and 2022 PBR Canada National Champion Nick Tetz joins the show. Tetz's career has sky rocketed the last few years and we had a good chat about it all. Nick shares on his recent injury, his unconventional start up in the sport as a hockey playing city kid from Calgary AB, his success in the PBR Teams series with the Arizona Ridge Riders, his mindset to success, taking the next step to get to and stay at the highest level of the sport, some hilarious stories from the road and much much more. Great chat with Canadian sensation, Nick Tetz.
What is Animal Chiropractic? Is it really a thing? In today's episode, Dr. Bill (Dr. O) interviews Dr. Sean De Lima Thiel of Canine Align (Nostos Chiropractic), Calgary AB, Canada, as he speaks about his biggest win as an animal chiropractor and how animal chiropractic can improve the life of your animals so they can live life to the fullest. You can also watch this interview on YouTube: https://youtu.be/WqzG6n9h6UwIf you are a veterinarian or simply an animal lover, this is the podcast for you! Learn about how you can improve your pet's quality of life with a simple adjustment.Get a copy of Dr. O's book, "Yes! It's Really A Thing" through this link:https://www.animalchiropracticeducation.com/search?q=Yesor through Amazon:https://www.amazon.com/Yes-Its-Really-Thing-Chiropractic/dp/057868005XIf you're looking for the number one hands-free way to market your practice, give the Chiro Website Pro a call at 423-779-4630 or visit https://www.chirowebsitepro.com/ and make sure you ask them about the special ACES discount and let them know Dr. O sent you. You'll be glad!All Creatures Every Spine (ACES)10771 Hwy 6Meridian, TX 76665Phone: 843.900.1502Dr. Amy Hayek DVM, CAC, CVADr. Bill Ormston DVM, CAC, DVETHOMChiropractic care is the cornerstone of our practice. Dr. Amy and Dr. O are certified by the American Veterinary Chiropractic Association. This modality helps the nervous system attempt to achieve its maximum potential allowing your animal to function to the best of its ability. They will utilize a series of manual adjustments in an attempt to restore normal motion to the joints of your animal's body. The science of chiropractic care has discovered throughout the last one hundred years that misalignment of joints (subluxation), especially the vertebrae, adversely alters nerve function from around those areas. Altered nerve impulses leaving the spinal column can adversely affect the function of organs and tissues supplied by that nerve. This altered function can lead to pain, disease, fatigue, muscle weakness, poor balance, immune suppression, etc. Animal chiropractic is the art, science, and philosophy that releases the body's inherent recuperative powers and allows the body to deal with the relationship between the nervous system and the spinal column and its associated structures. Remember, the power that made the body heals the body, it happens no other way.
If you've been running for any length of time, we're going to guess that you've dealt with an injury or two along the way and if so, then you're going to love what today's guest has to share. Leanne Klassen is a 36 year old runner from Calgary AB, a coach with Skyline Run Coaching, and a 2:42 marathoner, yet at the time of this recording she was walk-running her way back to health from tendinosis of her quadriceps and patellar tendons. This is an important reminder that even those with high levels of knowledge and an excellent support team can still wind up on the sidelines from time to time, but there is hope! In this episode Leanne shares how she's navigated this particular injury. We talked about the Lever running device which attaches to her home treadmill and can offload up to 45-pounds of body weight. We talked about the role that cross training can play, trusting her coach (Malindi Elmore) and physiotherapist (and actually doing what they recommend!), and leaning on her incredible support team more than ever before. We talked about being a role model for her own clients, exercising patience, and respecting the rehab process to best ensure that she has the longest career possible in the sport that she loves so much.Leanne comes from a team sport background and quickly found success in running after taking it up in 2016. Competitive by nature and someone to never shy away from a good challenge, Leanne qualified for Boston on her very first try and found herself on elite start lines shortly thereafter. Resources with discussed in the episode:Lever Device: https://believeintherun.com/gear-reviews/lever-review/Skyline Run Coaching: https://www.runcoach.orgOur episode with Skyline's founder, Lynsey RomanoConnect with Leanne:Instagram: @leanneklassen7 Connect with Carolyn & Kim:Email us with guest ideas: inspiredsolescast@gmail.comInspired Soles InstagramKim's InstagramKim's FacebookCarolyn's InstagramCarolyn's FacebookCarolyn's websiteWe love hearing from you! Connect with us on Instagram @inspiredsolescast or email guest ideas to inspiredsolescast@gmail.com. If you enjoyed this episode, please share it with a friend, subscribe or leave us a rating and review on Apple Podcasts.
Tyler Blaney is a husband, father-of-three, and a real estate agent from Calgary AB. He also happens to be a thru hiker turned ultrarunner with a great story. He started running cross country in high school while living in Kelowna, BC and fell in love with his ability to cover great distances in a short period of time and the sense of adventure this provided him. After high school he stopped running and spent over a decade of cycling. During COVID Tyler felt the need to reconnect with who he was and in 2021 found himself backpacking the Great Divide Trail from Waterton to Jasper - a distance of 850km in 35 days. On the last day of the thru hike he decided to run the 44km Skyline Trail and found that it was easy! Following his hike Tyler wanted to preserve the incredible base he had built and took up trail ultrarunning, completing three ultras in 2022. As if this wasn't enough of an accomplishment, he did it all with a significant back injury that added a level of complexity to his adventures. Hiking and running didn't necessarily help his back pain, but they didn't make it worse. Tyler describes himself as a curious human who wants to see what he is capable of in all areas of his life while using a daily practice of gratitude. He utilized this mindset to accomplish feats of endurance that many would never even consider possible.We close this episode with a discussion on what still scares Tyler after all he's experienced and his comments reveal the wisdom of someone who has spent many miles exploring what it means to be the human he wants to be.Connect with Tyler:YouTube: youtu.be/wgQDH0bIrwwInstagram: @tyblaneyFacebook: @tyblaneyPodcast: Game ChangersConnect with Carolyn & Kim:Email us with guest ideas: inspiredsolescast@gmail.comInspired Soles InstagramKim's InstagramKim's FacebookCarolyn's InstagramCarolyn's FacebookCarolyn's websiteWe love hearing from you! Connect with us on Instagram @inspiredsolescast or email guest ideas to inspiredsolescast@gmail.com. If you enjoyed this episode, please share it with a friend, subscribe or leave us a rating and review on Apple Podcasts.
We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988. But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987. I was wrong. While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days. Sorry for the misinformation. 1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win. But before we get to those two movies, there's a whole bunch of others to talk about first. Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there. Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her. Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k. A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature. In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it. But that ad may have been a bit premature. While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k. March 18th saw the release of a truly unique film. Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments. That is Aria. If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom. Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive. It's easy to see what might have attracted Harvey Weinstein to acquire the film. Nudity. And lots of it. Including from a 21 year old Hurley, and a 22 year old Fonda. Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City. But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres. As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it. Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k. There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k. Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad? Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen. Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next? Yep. No reported grosses, no theatres playing the film tracked by Variety. The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own. On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street. And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported. Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States. Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film. The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated. After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world. Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week. The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500. There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it. One week after Mio, Miramax would release a comedy called Going Undercover. Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day. So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies. She hadn't. This was a movie she had made just before Back to the Future, in August and September 1984. Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen. The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice. Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area. The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks. Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor. Or that was line of thinking. Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film. But that didn't make it any easier to sell his film. The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors. As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well. The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles. In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do. The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made. Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own. Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982. But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat. One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder. After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth. After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.” Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary. Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note. “Heard your NPR interview and you were boring.” Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question. It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out. And it would get it. The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review. New York audiences were hooked. Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before. I went and saw it again. Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film. The film would also find itself in several more controversies. Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed. Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights. Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.” Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011. Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry. In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs. The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director. The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights. Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines. “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.” That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area. Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k. In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away. Miramax would finish 1988 with two releases. The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter. When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star. The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star. But that wouldn't happen. Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns. I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration. And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit. Miramax's last film of the year would be the one that changed everything for them. Pelle the Conquerer. Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date. In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world. For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen. After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals. Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor. Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States. Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors. The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen. But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up. Well, for a foreign film. The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win. One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition. I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle. Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988. But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987. I was wrong. While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days. Sorry for the misinformation. 1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win. But before we get to those two movies, there's a whole bunch of others to talk about first. Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there. Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her. Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k. A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature. In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it. But that ad may have been a bit premature. While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k. March 18th saw the release of a truly unique film. Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments. That is Aria. If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom. Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive. It's easy to see what might have attracted Harvey Weinstein to acquire the film. Nudity. And lots of it. Including from a 21 year old Hurley, and a 22 year old Fonda. Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City. But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres. As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it. Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k. There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k. Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad? Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen. Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next? Yep. No reported grosses, no theatres playing the film tracked by Variety. The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own. On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street. And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported. Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States. Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film. The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated. After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world. Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week. The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500. There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it. One week after Mio, Miramax would release a comedy called Going Undercover. Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day. So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies. She hadn't. This was a movie she had made just before Back to the Future, in August and September 1984. Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen. The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice. Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area. The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks. Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor. Or that was line of thinking. Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film. But that didn't make it any easier to sell his film. The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors. As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well. The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles. In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do. The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made. Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own. Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982. But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat. One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder. After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth. After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.” Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary. Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note. “Heard your NPR interview and you were boring.” Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question. It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out. And it would get it. The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review. New York audiences were hooked. Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before. I went and saw it again. Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film. The film would also find itself in several more controversies. Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed. Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights. Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.” Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011. Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry. In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs. The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director. The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights. Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines. “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.” That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area. Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k. In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away. Miramax would finish 1988 with two releases. The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter. When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star. The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star. But that wouldn't happen. Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns. I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration. And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit. Miramax's last film of the year would be the one that changed everything for them. Pelle the Conquerer. Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date. In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world. For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen. After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals. Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor. Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States. Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors. The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen. But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up. Well, for a foreign film. The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win. One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition. I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle. Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
After 99 episodes, I decided to do something completely different for this 100th episode of my podcast. You're going to hear from more than 30 curling coaches, organizers and parents, all answering the same question: What advice do YOU have to make our youth curling programs better?Podcast Contributors (in order of appearance):(4:19) Abbie Darnley, Stroud CC Little Rocks (ON)(5:07) Amélie Blais, Passion Curling(5:46) Andrea Ronnebeck, Kenora CC (ON)(6:30) Andy Jones, Calgary (AB)(7:03) Bill Tschirhart, "A Pane In The Glass" Podcast(8:45) Brandon Shintani, Mind-Design Sports(9:20) Cheryl Rajala, Sudbury (ON)(9:53) Christopher Summers, Royal City CC (BC)(10:26) Delores McCallum (ON)(11:14) Greg Wilson, Brantford G&CC (ON)(11:40) Jonathan Penney, Cincinnati CC (Ohio, USA)(14:34) Jennifer Ferris, Ontario Curling Council(15:11) Helen Garside, Oakville CC (ON)(15:31) Kevin Campbell, Dixie CC (ON)(15:55) Marlene Kingsmith on behalf of Ray Kingsmith (AB)(16:56) Mike Gregotski, High Park Club Little Rocks (ON)(18:20) Michelle Hunt, Royal City CC Little Rocks (BC)(18:39) Mike Peplinski, USA Curling(19:03) Monica Walker, Broomstones CC (Mass., USA)(20:14) Pearl Quan, Chinguacousy CC (ON)(21:16) Raymond Ho, East York CC Juniors (ON)(22:03) Scott Dakers, Curl Edinburgh (Scotland)(22:28) Ryan Lafreniere, Laurentian University (ON)(23:08) Sabena Islam, Cataraqui G&CC (ON)(24:02) Sean Stevinson, Rock Creek Curling (Co., USA)(24:39) Stephen Bruneau, Brighton & District CC (ON)(25:16) Stephanie Thompson, "Empowered Performance For Curlers" Podcast(27:14) Tenielle Bachek, Okotoks CC (AB) - 3 pieces of advice!(32:28) Tim McChesney, Oakville CC (ON) - 2 pieces of advice!(35:18) Warren Hansen, "Inside Curling" Podcast(37:35) Josh Mudrick, East York CC Juniors (ON)(41:34) Glenn Gabriel, East York CC Little Rocks (ON)(47:10) A SURPRISE GUEST! (Pickering, ON)Links to the resources mentioned in this episode:Global Initiative For DEI In Curling Web sitehttps://academy.globalcurlingdei.orgEp.81: "Ray Kingsmith Memorial Bonspiel With Andy Jones & Marlene Kingsmith" (Apr 10/22)https://www.buzzsprout.com/1048435/10411724Ep.83: "Oakville (ON) CC's Instructor Co-Op With Delores McCallum, Tim McChesney & Helen Garside" (Apr 24/22)https://www.buzzsprout.com/1048435/10491089"Simone's World" Cartoon by Raymond Hohttps://eastyorkcurling.ca/index.php/simone-s-world"A Pane In The Glass" Podcasthttps://apaneintheglasspodcast.buzzsprout.com/"Empowered Performance For Curlers" Podcasthttps://empoweredperformance.ca/podcast/#"Inside Curling" Podcasthttps://www.sportsnet.ca/podcasts/inside-curling/East York Curling Club (Toronto, ON) Web sitehttps://eastyorkcurling.ca/Follow our podcast on Twitter: @kidscurlingGlenn Gabriel is an NCCP-certified curling coach and coach developer who lives in Pickering, Ontario, Canada. He has been the coordinator of the Little Rocks (U12) program at East York Curling Club in Toronto since 2011. If you have a question or feedback on the podcast, send us an e-mail at coachingkidscurling@gmail.comThe intro and outro music is "Golden Sunrise (Instrumental Version)"https://freemusicarchive.org/music/Josh_Woodward/The_Wake_1790/JoshWoodward-TheWake-NoVox-10-GoldenSunriseBy Josh Woodwardhttps://freemusicarchive.org/music/Josh_WoodwardLicensed under CC BY 3.0https://creativecommons.org/licenses/by/3.0/This podcast episode uses: "Bike, Bell Ding, Single, 01-01.wav"By InspectorJ (http://www.jshaw.co.uk)Of Freesound.org (http://Freesound.org)Support the show
Episode #70 finds Tanner in Calgary AB after finishing the Ponoka Stampede. JD and Scott join in to chat all things Ponoka Stampede, Cody Snyder's Bullbustin, Calgary Stampede, The PBR Canada touring pro and Cup Series events, NHL draft, Free agency and much more. At 59:16 Colby Armstrong joins the show. Arm dog chats about his NHL playing days, His work now in the media with TNT, Sportsnet and the Pittsburgh Penguins. As well his Podcast on the barstool network "Chiclets Game Notes" in conjunction with Spittin Chiclets. Army has great stories from the Stanley Cup playoffs this year, growing up in Sasky making the show, rooming with Sydney Crosby, playing with Mario Lemieux and tons of hilarious stories from the road. Great chat with an absolute beauty Colby Armstrong.
Chris Fenlon-MacDonald is an adventure racer and father, living in Calgary AB. He is the owner and founder of Rocky Mountain Adventure Racing and also played a huge role in the creation of the Swamp Donkey events in Manitoba. Recently he completed the Expedition Canada Adventure Race in the Okanagan in 2022 and is currently training for 2023!After serving as a full-time reservist with the Canadian Armed Forces in Winnipeg and Edmonton and spending time in academia in Australia, he returned to Calgary, Alberta to teach in an elementary setting. Chris has a Masters of Education from the University of Alberta and is currently a Well-Being Specialist for the Calgary Board of Education. In this role, he supports the professional learning aimed to increase the capacity of school communities by working with superintendents, senior school leadership, teachers, parents, students and allied health promotion specialists. Through this work Chris found a passion for school-health promotion, and the broad impacts comprehensive school health has on student wellbeing. In this episode, we discuss:Chris' running and athletic backgroundAdventure racing and why he was drawn to itHow Rocky Mountain Adventure Racing was bornWhat Chris loves about adventure racing and finally,Why you might want to try it!Chris has a passion not only for adventure racing, but also sharing it with others. You can't help but become intrigued as you listen to this conversation and you may just find yourself mixing it up a little in your next race!Connect with Chris & Rocky Mountain Adventure Racing:Website: rockymountainar.comInstagram: @rockymountainarConnect with Carolyn & Kim:Email us with guest ideas: inspiredsolescast@gmail.comInspired Soles InstagramKim's InstagramKim's FacebookCarolyn's InstagramCarolyn's FacebookCarolyn's website (sign up for her free weekly newsletter on the homepage)We love hearing from you! Connect with us on Instagram @inspiredsolescast or email guest ideas to inspiredsolescast@gmail.com. If you enjoyed this episode, please share it with a friend, subscribe or leave us a rating and review on Apple Podcasts.
The GenerEhlist - CCFP Exam & Canadian Primary Care Medicine
Written By: Shaila Gunn, FM PGY2, Calgary AB Expert Review: Dr Darby Ewashina, ER Psychiatrist, Calgary AB @doc.darbs on Instagram Why should a family physician learn about personality disorders? Well, to start, we are the first point of contact with the patients who have them, and often the first to recognize they have a personality disorder. While psychiatrists may have a role in their treatment, most patients do not require a referral, making family doctors the primary provider of care. Even if you do not plan on managing the personality disorder, you WILL have patients with personality disorders and this podcast will help you effectively manage challenging situations. Personality disorders make up over 10% of the general population, and 24% of the population in primary care. They may or may not seek treatment for aspects pertaining to their personality disorder, but they sure as well will have other health concerns.
This podcast is about the charity event we are holding on April 14th, 2023 in Calgary AB, Canada with Sifu Singh called Master Your Center.DO YOU WISH YOU COULD DO MORE?Do you feel like you do not have enough energy and time to be able to perform at work and be present at home?Are you tired of living in a constant state of overwhelm, exhaustion, and distraction? Are you ready to unlock your true potential and live a life in flow? Then join us for the "Master Your Center" workshop with the world-renowned thought leader, Sifu Singh.In today's fast-paced society, we are facing an energy crisis that leaves us disconnected from our center. But fear not, because this workshop will provide you with a practical method based on principles and processes that will allow you to instantly choose peace and presence inside of chaos.The key to unlocking true power lies in building a relationship with your center. This workshop will teach you how to connect with your higher self, understand the concept of stillness, and develop a 360-degree awareness of everything going on around you. By moving from your center, you will have the power to read the room, people, places, and things without reacting to them, saving you precious time and energy.Relaxation is the first step towards mastery. And in this workshop, you will learn how to relax under pressure and transform tension into flow. You will discover how to identify the source of tension and release it in the moment to make conscious choices that will transform your life.You will leave this workshop equipped with a step-by-step process to slow down your perception of time, build an incredible amount of energy, and expand your awareness. You will also receive practical exercises that will connect you to your body and your being, allowing you to achieve a natural state of flow.Your relationship with your center is the fundamental root of all success and performance. Don't waste another moment living in chaos and disconnection. Register now for the "Master Your Center" workshop with Sifu Singh and unlock your true performance which is peace, presence and playfulness in your personal and professional life.* ** ALL PROCEEDS WILL BE GOING TO OUR NON-PROFIT, BUDO YOUTH FUND TO HELP DESERVING YOUTH CHASE THEIR DREAMS IN MARTIAL ARTS**
In this episode, Santana shares her journey to the Freebirth of her son Keon in Thornbury. Ontario. She shares about feeling his presence years before he arrived on earth and the dream that told of his coming. Her story highlights pregnancy as “adult evolution”, seeking prenatal care outside of the medical system and going “overdates” (birthing somewhere in her 42nd week of gestation). Enjoy! Reach out with comments and questions @thisrawmomlife on Instagram Connect with Santana @the.eternal.feminine Santana was drinking delicious Nummy Dandelion tea https://nummycreations.com/en-ca Connect with Michelle a birth attendant in Calgary AB @mushaboomyyc
Wild Rose Hardcore has been a crucial aspect to HC in Canada for the last few years. The rise of Wild Rose Hardcore Fest, bands catapulting to the highest reaches of popularity in the scene, and Wild Rose Records being an outlet for a new wave of local bands to release their music. Discussing the current state of hardcore in Calgary, Alberta is Colter XVX, a fixture in four bands from Calgary. While not from Calgary originally, his impact on the Wild Rose scene is noticeable and his presence allows for a good commentary on the current state of hardcore in the city. Tune in and gear up for some bands you may or may not know from the town where Bret Hart calls home. Tracks played:1. World of Pleasure - "Carbon Copy" (World of Pleasure & Friends, WRR)2. Serration - "Joy of Creation" (Promo Split w/ A Mourning Star, WRR/TCS/Daze)3. Snakepit AB - "Death's Embrace" (Eternal Conflagration)4. Mortality Rate - "Heathen" (You Were The Gasoline, Isolation)5. Claymore - "Misery" (The Hammer Swings Hard)6. Delusion - "Nothing Left" (Demonstration 2022, WRR)7. Trench - "Be All End All" (Be All End All, New Damage Records)8. Please - "Vessel" (Withered, Restricted Airspace Records)
The GenerEhlist - CCFP Exam & Canadian Primary Care Medicine
Written By: Shaila Gunn - PGY , Calgary AB Expert Review: Dr Darby Ewashina, ER Psychiatrist, Calgary AB @doc.darbs It is important that as family physicians, we learn to not only diagnose insomnia but learn to counsel patients in the management, both behavioral and pharmacological. Insomnia is a common problem, impacting 35-50% of adults. However, only 12-20% of patient with symptoms of insomnia meet the criteria for insomnia disorder. Many other factors including other sleep related conditions, mental health concerns, and organic health problems may present with symptoms of insomnia. Knowing what is causing the insomnia is an important step, as this will guide the most effective treatment strategies. Common, non-modifiable risk factors for insomnia include female gender and middle aged to older adults. However, most patients with insomnia will have another treatable condition. It is important to note that the MOST COMMON CAUSE OF SLEEPINESS IS INADEQUATE SLEEP WITH LACK OF TIME SPENT IN BED AND POOR SLEEP QUALITY Regardless of the cause of insomnia, there are some important, non-pharmacologic treatments that we will talk about that can be beneficial for all patients struggling (or not!) with sleep. The two main treatments are sleep hygiene techniques and Cognitive Behavioral therapy for insomnia (or CBT-I for short). We will get into this later in the episode.
Today's episode showcases none other than the owner and founder of Frida Beauty Bar and "Franks" by Frida. She is also the founder of her extremely successful botox and filler course called "The Academy" in Calgary AB. HELLO LADY BOSS!!Please join Kimber and SUPRISE Kendra Numan owner of HEBE Beauty bar and myself in a 3-way girl chat about life, work and the future. I can't wait for you to follow along with these two powerful Women while we get honest and hold nothing back!Make sure to leave a 5 star and written review if you like the Show! Feedback always appreciatedMake sure to follow myself @Hebe.Samantha and Kimber @beautyinjector and Kendra @hebeinjector on instagram************************************************************
Connie Hewitt from Calgary AB shines, and clearly has a bright future in Brokering!Yes we've had way more than 2 rockstar rookies, but this interview makes two weeks in a row! New-ish Brokers sharing how they got things into high gear from day one, tune in.
Az első magyar nyelvű kanadai podcast 11. extra epizódjában folytatódik Attiláék észak-amerikai története. Több hónapos itt tartózkodásuk alatt keletről nyugatra tartva bejárják Kanadát, majd észak-déli irányban az Egyesült Államokat is, hogy aztán a szilveszter éjszaka már Mexikóban találja őket. Több, mint 8.500 km-rel a hátuk mögött érkeztek meg Calgary szomszédságába. Attilával és családjával egy lakókocsis kempingben találkoztunk és a grillsütőkön elkészült vacsora után a naplementében beszélgettünk. A kérdéseket, észrevételeket, véleményeket, téma javaslatokat első sorban e-mail-ben várjuk: az elérhetőségeinket itt találod! Adás napló: KBXTR11 – Kempingezés Amerika-szerte - Calgary, AB Kérdésed, vagy észrevételed van az adásainkkal kapcsolatban? Esetleg kritikát fogalmaznál meg a podkasztról? Szeretnél riportalanyainknak kérdeseket feltenni? Vagy van egy jó téma javaslatod? Netán megosztanál velünk és a hallgatókkal egy érdekes történetet? Lépj velünk kapcsolatba: W: https://KanadaBanda.com @: studio@kanadabanda.com P: https://www.patreon.com/KanadaBanda Köszönjük a megtisztelő figyelmet! Bandázz velünk legközelebb is!
Todays guest is Sinéad Ludwig-Burgess, a burgeoning artist welder from Calgary AB. She is insanely talented, and creates beautiful sculptures out of metal that would otherwise be considered useless. That passion behind repurposing raw materials is a big driving force behind her work. Find Sinéad on Instagram: instagram.com/welding_princess403instagram.com/plant.metal instagram.com/forgivemefatherforiamsin Sinéad's Websites: https://www.plantmetal.ca/https://www.sineadludwigburgess.com ~Listen To Our Podcast: https://thiswillneverwork.buzzsprout.com/Follow me on Instagram: http://Instagram.com/limpoticusFollow me on TikTok:https://www.tiktok.com/@limpoticus
Custom Window Coverings is a window covering design and installation team based in the Altadore neighbourhood of Calgary, AB - call them today at +1-403-452-3999 to schedule an at-home consultation! You can find out more about zebra blinds by visiting https://www.cwindowcoverings.ca/zebra-blinds-calgary (https://www.cwindowcoverings.ca/zebra-blinds-calgary)
The GenerEhlist - CCFP Exam & Canadian Primary Care Medicine
Written By: Braedon Paul Expert Review By: Dr Jordan Iannuzzi - GI Fellow, Calgary AB
Looking for a classic and timeless engagement ring in Calgary, Alberta? You can't go wrong with a diamond solitaire ring, and Breslauer & Warren Jewellers (403-252-9048) has a piece to suit every taste. Go to https://breslauerwarren.com/engagement-rings-calgary (https://breslauerwarren.com/engagement-rings-calgary) for more information.
On today's episode, we are joined by Andy Dragt, founder of one of the fastest-growing outdoor clubs in North America– Slow and Steady. As an alternative to competitive clubs that often overlook beginners or slow-goers, Andy founded a welcoming, accessible club geared towards adventurers of all skill levels. Based in Calgary AB, the club has organized thousands of trips in Western Canada, from technical scrambles to easy urban walks and everything in between. Intrigued by the idea of joining an outdoor club? Tune in to today's episode and get inspired to join an adventure community. Outdoor clubs are great– enabling novice and expert hikers alike to confidently explore the outdoors while forging lifelong connections along the way– what more could you ask for? Head over to the Hike Canada Facebook group or the Slow and Steady Facebook group to learn more about outdoor clubs and find one near you! Interested in joining Slow and Steady? Visit their meet-up page for more information and check out the Slow and Steady Adventures membership.
Top Calgary, Alberta jewellers Breslauer & Warren, (403-252-9048), offer a range of lab-created diamonds that have the same chemical makeup mined diamonds have for a 100% ethical diamond engagement ring at prices that are 30-40% lower than that other kind. Learn more at https://breslauerwarren.com/why-it-is-worth-considering-calgary-lab-grown-diamonds (https://breslauerwarren.com/why-it-is-worth-considering-calgary-lab-grown-diamonds)
Do you want affordable money-back insurance plans? Canadian Life Insurance Guides (1-888-709-1001) of Toronto, ON is the brokerage to talk to! Learn more by visiting https://www.lifeinsuranceguides.ca/win-with-money-back-life-insurance (https://www.lifeinsuranceguides.ca/win-with-money-back-life-insurance)
The "Lanzano" (not their real name) family from the Philippines were a tight knit family and their house as always full of extended family. Their kindness and generosity were repaid with the sexual abuse of their daughter and the vicious murder of their matriarch and youngest son, who was only 5 years old, in a terrifying and horrific ordeal that the surviving family is haunted with everyday since. https://www.taylortollerfund.org/ https://www.buymeacoffee.com/amillionotwMusic credits: Sorry by Comfort Fit (2010), Beginning creative commons license by Audionautix.comSupport the show
Ryan Lovett was a spunky and creative young boy until he came down with a bit of a cold. How does a healthy little boy go from the sniffles to dead in a week? Today we examine the case of Ryan Lovett and his unnecessary, and tortuous death. Support the show: https://www.buymeacoffee.com/amillionotwhttps://www.taylortollerfund.org/Music credits: K.H (Original mix) Ardiko, 2018. License by Creative Commons, freemusicarchive.org. Metaphor, Audionautix.com, 2017. Edoy, by Cloister, 2021. Licensed by Creative Commons.Support the show
The events of Calgary's Black Friday transformed the Calgary Police service and took the life of Officer Boyd Davidson, and injuring numerous others. Join me for this important story as my season 2 premiere. Support the show: https://www.buymeacoffee.com/amillionotwhttps://www.taylortollerfund.org/Music credits: Music from Uppbeat (free for Creators!):https://uppbeat.io/t/ra/coming-after-youLicense code: QQGNVTBEWGXAHZABCreative Commons Attribution-ShareAlike 3.0 Unported (CC BY-SA 3.0)https://creativecommons.org/licenses/by-sa/3.0/I Walk With Ghosts by Scott Buckley | www.scottbuckley.com.auMusic promoted by https://www.chosic.com/free-music/all/Darren Curtis - Eternal Sleep , and I was Always Right HereSupport the show
Episode 4The Most Haunted House in Drumheller, ABThe Hose & House Restaurant Calgary,ABThe Rutherford House - Alberta's First PremierFor more information about this podcast please visit us at:http://www.HauntedCanada.comTo learn more about the Edmonton Ghost Tours visit us at:http://www.EdmontonGhostTours.comWritten,Narrated and Produced by Nadine BaileyMusic by: Mountain Sound AudioJungle Music Standard -Mystery Logo AudiojungleResearch: The research for these stories came from Nadine's personal research and writings as well as sources list.https://traveldrumheller.comhttps://www.cbc.ca/news/canada/calgary/drumheller-haunted-house-1.5342079https://www.drumhellermail.com/news/31177-historic-drumheller-home-subject-of-paranormal-investigationhttps://www.thehose.cahttps://where.ca/alberta/calgary/spooky-city-calgarys-most-haunted-houses/https://rutherfordhouse.caEdmonton Ghost Tours Alberta's most popular Ghost Tour sharing the haunted and darker side of Edmonton.
Episode 4The Most Haunted House in Drumheller, ABThe Hose & House Restaurant Calgary,ABThe Rutherford House - Alberta's First PremierFor more information about this podcast please visit us at:http://www.HauntedCanada.comTo learn more about the Edmonton Ghost Tours visit us at:http://www.EdmontonGhostTours.comWritten,Narrated and Produced by Nadine BaileyMusic by: Mountain Sound AudioJungle Music Standard -Mystery Logo AudiojungleResearch: The research for these stories came from Nadine's personal research and writings as well as sources list.https://traveldrumheller.comhttps://www.cbc.ca/news/canada/calgary/drumheller-haunted-house-1.5342079https://www.drumhellermail.com/news/31177-historic-drumheller-home-subject-of-paranormal-investigationhttps://www.thehose.cahttps://where.ca/alberta/calgary/spooky-city-calgarys-most-haunted-houses/https://rutherfordhouse.caEdmonton Ghost Tours Alberta's most popular Ghost Tour sharing the haunted and darker side of Edmonton.
Episode 4The Most Haunted House in Drumheller, ABThe Hose & House Restaurant Calgary,ABThe Rutherford House - Alberta's First PremierFor more information about this podcast please visit us at:http://www.HauntedCanada.comTo learn more about the Edmonton Ghost Tours visit us at:http://www.EdmontonGhostTours.comWritten,Narrated and Produced by Nadine BaileyMusic by: Mountain Sound AudioJungle Music Standard -Mystery Logo AudiojungleResearch: The research for these stories came from Nadine's personal research and writings as well as sources list.https://traveldrumheller.comhttps://www.cbc.ca/news/canada/calgary/drumheller-haunted-house-1.5342079https://www.drumhellermail.com/news/31177-historic-drumheller-home-subject-of-paranormal-investigationhttps://www.thehose.cahttps://where.ca/alberta/calgary/spooky-city-calgarys-most-haunted-houses/https://rutherfordhouse.caEdmonton Ghost Tours Alberta's most popular Ghost Tour sharing the haunted and darker side of Edmonton.
The duo investigates a supposedly haunted house in suburban Calgary, and Tennyson discovers where Alder draws the line. Alder: Darhyl Balemans Tennyson: Katrina Basnett On the radio: "Dakota" by Unheard Music Concepts @Veil_podcast meadowlarkpresents.ca Transcript: https://docs.google.com/document/d/162Wj4DA596adzP0f9SqZoLzHAFG9YwDIQ-6DAYxHkL8/edit?usp=sharing
“If you're investing $500 here or $1000 there you're hoping for a gimmick. If you go all in on something, you're committed; you're focused.” – Shane Melanson Shane Melanson is the host of The Investing Advantage and the founder of Melanson Developments, a commercial real estate development and investment firm in Calgary AB. Shane has authored 2 books - Club Syndication, How the Wealthy Raise Money and Invest in Commercial Real Estate and Evolve, Your 90 Day Growth Plan. He is focused on helping professionals and business owners make smarter investing decisions. Creating financial abundance by investing like the wealthy through value-add, commercial real estate opportunities. For the past 15 years, Shane has completed more than $260M in transactions for his clients and $65M in personal real estate transactions. He has worked with publicly traded companies like Melcor Developments, First Capital, and Sun Life Financial, Hedge Funds and some of the wealthiest families in both Canada and the US. But today he's focused on helping everyday people invest like the wealthy in commercial properties. Shane lives in Calgary with his wife Kelly and 3 kids where he's able to take his kids to school and no longer misses birthdays or dance recitals due to work and travel. Show Notes [02:08] Patrick introduces his next guest in the REIN Member Series: Shane Melanson [03:56] Shane and Patrick get going on today's conversation and what Shane's been up to most recently. [5:58] In addition to podcast host, Shane is a two-time author. He talks about the purpose behind them, the process and the unexpected gifts in writing his second book Evolve. [10:52] Shane explains his beginnings in real estate in Whitecourt, Alberta, his early “genius”, his lessons, and getting started in commercial real estate [13:31] Although it wasn't a noticeable difference for him until this conversation, Shane shares what he feels was the difference for him as a commercial lender surrounded by highly successful investors, that made him take the extra step to put his learnings into real action. [16:46] Shane delves into his background, where his entrepreneurial spirit stemmed from, and by losing trust (and money) through a failed investment he was fueled to take charge of his own future. [22:22] As a father now himself, Shane shares how his relationship with his father has evolved and the great support from his mother. [23:57] An unlikely introduction to real estate through a city job. [25:05] Shane explains who and what lit a fire under him to get on the investment property train and purchase his first properties in Calgary. [27:30] Shane describes his start with commercial real estate and the learning opportunities that came with a scattering of investment deals and strategies. [29:51] What Shane is currently working on, where he invests and the type of development he and his partner undertake. [33:22] Shane talks about how he raises capital and the way in which he approaches his development deals with investors. [35:30] In working to their inherent strengths, Shane and partner find success with complementary skillsets. [38:31] From his own experience, Shane feels mentorship can't be about the pursuit or a one-way street it's more of an unquenchable curiosity that unfolds. [42:34] Shane discusses his morning routine and how he approaches professional development. [44:55] Patrick and Shane have a robust conversation about intentional friendships, cleaning up relationships, and distinguishing anchors vs. accelerators. [50:53] Self-care: what Shane does, and what it does for him. [52:19] Shane talks about the investments he makes in himself and the commitment he has to his life and goals. [55:33] Getting clear and committed was the game changer for Shane in living life on his own terms. [59:32] Shane digs into his own focus and how he has taken responsibility for that. [62:07] Shane's intentionality and decision making are also deeply root...
Today's guests are Morgan and Marc. They are Partners and Designers at Bamff Studio in Calgary AB.During this interview we talk about:-the creation story of Bamff Studio, how they met, and how the two freelancers teamed up. -the album cover artwork that really stuck with Marc.-the logo and designer that was influential to Morgan. -the packaging "oops" Marc made and what he learned.-the label print project where they got to use some fun print finishes. -mental health stuff you can get hung up on as a freelancer.-the brewery project that they are really proud to have been a part of and why.I should also add that the brewery was also recently featured in NYTimes Travel for having awesome 80's throw back design style and being a great place to grab a beer and hang out. As good as the product is I'm sure, the design really brought it home. @bamffstudio
Today's guest is Tara Victoria. She is a Freelance Graphic Designer and One Woman Show in Calgary AB.During this episode we talk about:-her love for surf culture and I ruin her street cred talking about the surf scene in Calgary AB.-how she grew up in a blue collar family but was always encouraged to explore her creativity.-the moment that art and design as a career it clicked for her and what she started seeing.-the magazine that influenced her love for print and editorial design.-a really cool year end project that she worked on in school. -creating under duress. She gets real honest with us and opens up about forcing herself to be creative while experiencing trauma.This episode has so much more and Tara is an incredible person. I love her exciting energy and I know you will enjoy what she shares. @taravictorial
Today's guest is Sheldon Popiel, Creative Director at District Ventures Accelerator in Calgary AB. District Ventures is a sister company to Venture Communications. Sheldon has an incredible career of being designer, creative director, and co-founder at a number of stock photo and stock video sites. He shares with us that the move to District Ventures which focuses primarily on consumer packaged goods was a big career change for him and what that was like. Sheldon also shares one of the most memorable projects he has worked on, a summer activity book for designers. Oh, and we talk about breakfast cereal.
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