Podcasts about carnegie mellon school

Paula Jane Newman, is known as the "Real Deal." She couldn't be fake if an Oscar depended on it. She is a global clean comic, MC, event host, inspirational/motivational speaker, voice over/improv artist, theatrically trained actress, meditation instructor, and non-profit founder. Her clean comedy is infused with wisdom, inspirational gems, various voices, silliness and act outs that do deserve an Oscar. She has worked on over 100 tv/movies as either a voice talent or on camera. She is an improv artist originating in the U.K. performing at the Edinburgh Fringe Festival, Groundlings Theatre (Los Angeles) and a prior member of TheatreSports Pittsburgh. You may have caught her on local Los Angeles stages, Nevada Shakespeare Festival and more. She is a trained theatre professional from Carnegie Mellon School of Drama. Meditation Teaching/Inspirational Speaker She is a chronic pain warrior for over 20 years and sought meditation after experiencing a work-related injury due to repetitive computer/office work as an alternative to long term pain management without using pharmaceutical drugs. Her training took over 6,500 hours including spending time in Rishikesh, India. She is a Vinyasa trained Yoga instructor. She has appeared as on CBS' GoodDay Sacramento, ABC's Celebrity Wife Swap (as George Hamilton's meditation teacher), to name a few media highlights. She has spoken at sobriety conventions, pain management centers, Rotary Clubs and businesses. She was invited to the Cambridge University Press' Bio Ethics in Education conference to workshop Getting to Yes with medical students and doctors regarding prejudice within the medical field of BIPoC patients but COVID happened. #paulajanenewman #standupcomedian #actor #motivationalspeaker #meditationteaching #livewithcdp #talkshow #chrispomay #wqee #barrycullenchevrolet Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/54200596... https://beacons.ai/chrisdpomay https://www.paulajanenewman.com/ https://www.awaremeditation.com/

Paula Jane Newman, is known as the "Real Deal." She couldn't be fake if an Oscar depended on it. She is a global clean comic, MC, event host, inspirational/motivational speaker, voice over/improv artist, theatrically trained actress, meditation instructor, and non-profit founder. Her clean comedy is infused with wisdom, inspirational gems, various voices, silliness and act outs that do deserve an Oscar. She has worked on over 100 tv/movies as either a voice talent or on camera. She is an improv artist originating in the U.K. performing at the Edinburgh Fringe Festival, Groundlings Theatre (Los Angeles) and a prior member of TheatreSports Pittsburgh. You may have caught her on local Los Angeles stages, Nevada Shakespeare Festival and more. She is a trained theatre professional from Carnegie Mellon School of Drama. Meditation Teaching/Inspirational Speaker She is a chronic pain warrior for over 20 years and sought meditation after experiencing a work-related injury due to repetitive computer/office work as an alternative to long term pain management without using pharmaceutical drugs. Her training took over 6,500 hours including spending time in Rishikesh, India. She is a Vinyasa trained Yoga instructor. She has appeared as on CBS' GoodDay Sacramento, ABC's Celebrity Wife Swap (as George Hamilton's meditation teacher), to name a few media highlights. She has spoken at sobriety conventions, pain management centers, Rotary Clubs and businesses. She was invited to the Cambridge University Press' Bio Ethics in Education conference to workshop Getting to Yes with medical students and doctors regarding prejudice within the medical field of BIPoC patients but COVID happened. #paulajanenewman #standupcomedian #actor #motivationalspeaker #meditationteaching #livewithcdp #talkshow #chrispomay #wqee #barrycullenchevrolet Want to create live streams like this? Check out StreamYard: https://streamyard.com/pal/d/54200596...

Welcome to Episode 375 of The Clean Comedy Podcast! This week we have the amazing Paula Jane Newman. We talk about comedy, community, and the power that they both have not only on ourselves but on making better shows.Paula is known as the "Real Deal." She couldn't be fake if an Oscar depended on it. She is a global clean comic, MC, event host, inspirational motivational speaker, voice over/improv artist, theatrically trained actress, meditation instructor, and non-profit founder. Her clean comedy is infused with wisdom, inspirational gems, various voices, silliness and  act outs that do deserve an Oscar. She has worked on over 100 tv/movies as either a voice talent or on camera. She is an improv artist originating in the U.K. performing at the Edinburgh Fringe Festival, Groundlings Theatre (Los Angeles) and a prior member of TheatreSports Pittsburgh. You may have caught her on local Los Angeles stages, Nevada Shakespeare Festival and more. She is a trained theatre professional from Carnegie Mellon School of Drama. Check her out at https://www.paulajanenewman.com/Follow The Clean Comedy Podcast on Instagram: @thecleancomedypodcast Don't forget to add @jdcrevistoncomedy on IG: @jdcrevistoncomedyTurn your funny into money! Visit ComedypreneurWant to be a comedy writer? Join the Funny Money substack! Or go to https://jdcrevistoncomedy.substack.com/Grab your copy of “How To Produce Comedy Shows For Fun & Profit” here.Have a topic you want us to discuss? Reach out here.Be Our Guest: Are you a clean comedian interested in being on our podcast? Contact us! Stay Connected: Subscribe, rate, and review the podcast on Apple Podcasts. Your support helps us grow!

Christmas came early this year! We are dropping this episode a few days ahead of schedule to commemorate the 180th anniversary of the release of A Christmas Carol by Charles Dickens.   The multi-talented Lavina Jadhwani stops by to discuss her adaptation of A Christmas Carol, which was first produced when her script was discovered on New Play Exchange. In this episode, we discuss:Adapting a well-known story for the stage, making it unique, and being faithful to the original textLavina's approach to adapting for the stageHow surviving cancer gave her a different perspective of her workthe Bollywood film list Lavina curated for Melissa on the spotAnd more!Resources MentionedA Christmas Carol by Lavina Jadhwani is playing at the Guthrie and Penobscot Theatre during the 2023 holiday season.New Play Exchange Nothing For the Group substackAbout Our GuestLavina Jadhwani is a Chicago-based director, playwright, and activist. Directing credits include Guthrie Theater, Oregon Shakespeare Festival, PlayMakers Rep, the Rep of St. Louis, Asolo Rep, Mixed Blood, the Neo-Futurists, the Gift, Teatro Vista, Silk Road Rising, and Rasaka Theatre Company, where she served as Artistic Director for seven years. As a playwright, her work has been seen at the Guthrie, the Goodman, the Gift, East West Players, Cincinnati Shakes, and Indianapolis Shakes, and more. Lavina serves on the boards of the National New Play Network and the Chicago Inclusion Project. She is a proud cancer survivor, dog mom, and child of immigrants. She got her BFA/MA at Carnegie Mellon School of Drama and her MFA at The Theatre School at DePaul University.Connect with Our Guestlavinajadhwani.comRead & Recommend Lavina's plays on New Play ExchangeFacebookInstagramConnect with host Melissa Schmitz***Sign up for the 101 Stage Adaptations Newsletter***101 Stage AdaptationsFollow the Podcast on Facebook & InstagramRead Melissa's plays on New Play ExchangeConnect with Melissa on LinkedInWays to support the show:- Buy Me a Coffee- Tell us your thoughts in our Listener Survey!- Give a 5-Star rating- Write a glowing review on Apple Podcasts - Send this episode to a friend- Share on social media (Tag us so we can thank you!)Creators: Host your podcast through Buzzsprout using my affiliate link & get a $20 credit on your paid account. Let your fans directly support you via Buy Me a Coffee (affiliate link).

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

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

Subscribe to The Locher Room: https://bit.ly/TheLocherRoomActress Judith McConnell will be my guest in The Locher Room.Judith was born in Pittsburgh Pennsylvania and started dance classes at age 6. She has continued with dance for most of her life and today she takes a weekly tap and jazz class. She was accepted and attended the renowned Carnegie Mellon School of Acting.Upon leaving college, Judith went to New York City and immediately landed a commercial. Shortly thereafter, she was offered a role in a pilot shooting in Los Angeles. In LA she started booking work, doing an original Star Trek, and had recurring roles in Dragnet, Beverly Hillbillies, Mayberry RFD, Green Acres and guest starring in Mannix, The Streets of San Francisco and many others. She also worked in the theatre at The Rocking Chair Playhouse and The Century City Playhouse.Judith's first daytime role was in General Hospital, where she played Augusta McLeod. Then New York City came calling her back for roles in As the World Turns (Valerie Conway), Another World (Amanda Bishop), and One Life to Live (Eva Vasquez). She soon returned to Hollywood for the part of Sophia Capwell on Santa Barbara.We certainly have a lot to talk about. Join us to catch up with this incredible actress.Original Airdate: 10/23/2021

Today I welcome ShanRong Janicijevic-tuo to the podcast, a violist and music educator based in New York City, USA and a mother of 1.Born in China, ShanRong started playing the violin at the age of 10, which was considered late to start. ShanRong grew up in a valley a long way from the city, so she didn't have access to teachers. Her mother trained to become a violin teacher so she could teach her. After just 4 years of lessons, ShanRong was accepted into her high school Conservatory talent programme,After school ShanRong travelled to Singapore to completed her undergraduate education at the Yong Siew Toh Conservatory of Music, where she was under the tutelage of Mr. Zuo Jun and Mr. Alexander Souptel, former Concert Master of Singapore Symphony Orchestra.ShanRong then travelled to Pittsburgh to do her Masters and 4 years later got into the Doctorate programme in New York City. ShanRong holds Master's Degree and Artist Certificates in Violin performance and orchestra studies from the prestigious Carnegie Mellon School of Music as a full scholarship recipient, where she studied with Mr. Cyrus Forough, a pupil of legendary violinist David Oistrakh.ShanRong has more than 12 years experience working with students from different levels, ages, races and countries. Many of her college and pre-school students have accepted in major music schools and festivals in China and the United States. In academic teaching and researching, ShanRong was a teaching assistant in Western Music History and Rock Music History at Stony Brook University.ShanRong is a doctoral candidate in violin performance at Stony Brook University and recently appeared as soloist and chamber musician with Ms.Jennifer Frautschi, and Emerson quartet members at Stony Brook University Starry Nights Concert series, Arts of Violin and Chamber Music Festival.Today we chat about the unexpected injury that ShanRong has suffered since becoming a mother, role modelling the will to never give up and the appreciation she has for the support of those around her. You'll also hear chatter from her 8 month old and the rumble of the New York trains.Music from Dr Erica BallShanRong website / instagramPodcast website / instagramMummys Wrist

Christina Crawford (born June 11, 1939) is an American author and actress, best known for her 1978 memoir, https://en.wikipedia.org/wiki/Mommie_Dearest (Mommie Dearest), her account of growing up with her adoptive mother, film star https://en.wikipedia.org/wiki/Joan_Crawford (Joan Crawford). Christina Crawford was born in Los Angeles, California in 1939, to an unmarried teen. According to her personal interview with Larry King, her father was married to another woman and supposedly in the Navy; her mother was unmarried. Crawford was adopted from a baby broker in Nevada because Joan was formally denied an adoption by social services for being an unfit candidate in California in 1940 (due at least in part to her status as a divorcee). Crawford was one of five children adopted by Joan. Her siblings were Christopher (1942–2006), adopted in 1943, and twin girls — Catherine (Cathy, 1947–2020) and Cynthia (Cindy, 1947–2007) — adopted in 1947. Another boy, also named Christopher, was adopted in 1941 but was reclaimed by his birth mother. Crawford has stated that her childhood was affected by her adoptive mother's alcoholism. At 10, Crawford was sent to Chadwick School in Palos Verdes, California, which many other celebrity children attended. However, her mother sent her from Chadwick to graduate from Flintridge Sacred Hearthttps://en.wikipedia.org/wiki/Flintridge_Sacred_Heart_Academy ( )Academy in La Cañada (now the city of La Cañada Flintridge), California, and curtailed Crawford's outside contact until her graduation. After graduating from Flintridge, she moved from California to Pittsburgh to attend Carnegie Mellon School of Drama and then to New York City, where she studied at the Neighborhood Playhouse in Manhattan. After seven years, she gained a Bachelor of Arts degree from UCLA. After 14 years as an actress, Crawford returned to college, graduating magna cum laude from UCLA and receiving her master's degree from the Annenberg School of Communication at USC. Then she worked in corporate communications at the Los Angeles headquarters of Getty Oil Company.

In which we talk about Doreen Cannon. One of the most important figures in the history of British Actor training. With very special guests Annie Tyson and John Bechizza. John BeschizzaJohn is the Lead Acting Tutor at Rada and teaches Acting Technique and Scene Study on the BA (Hons). RADA. He trained at The Drama Centre under co-founders Christopher Fettes, Yat Malmgren and the legendary Acting Tutor and first Head of Acting, Doreen Cannon – three of the most innovative and rigorous theatre practitioners and teachers of the 20th century. The challenges of training at the Drama Centre were immense; the rewards were life-changing. It was here that some of the greatest discoveries were made under the guidance of Doreen, who as Head of Acting at RADA in 1994 offered John the opportunity to teach Acting at RADA.The techniques he provides are simple, clear and specific and when fully engaged evoke a visceral gut, heart and head understanding of the acting process. He works for one goal: to guide the actor-trainee into transforming their raw, instinctive talent into real, dependable skill.John maintains a standard of excellence in his work, evident through the specificity and rigour of his teaching. Over 27 years, this has developed into a highly practical way of working that serves the ever-changing requirements and challenges of today's industry.Annie TysonANNIE TYSON Annie read Drama and Theatre Arts at Birmingham University before training at Drama Centre London where Doreen Cannon was amongst her teachers. She worked as an actor in regional theatre, in London and in TV and radio. Recent acting work has included work at the Octagon Theatre Bolton in Arthur Miller's The Last Yankee, the White Bear Theatre in An Honourable Man and the Park Theatre in Hell Yes, I'm Tough Enough.At Drama Centre London she was Course Director of the BA Honours Acting Course 2002-2010. Her public productions there included All's Well That Ends Well, Wild Oats, Mary Stuart, A Laughing Matter, Love's Labours Lost, Richard III, The Winter's Tale, The Second Mrs Tanqueray, Mother Courage.  She continued as an acting tutor and director there until Spring 2018  while also working at RADA. She directed Love For Love in the Vanbrugh theatre in 2013and Strange Orchestra in 2017. She directed Macbeth February 2020. She was part of the core team for the Royal Shakespeare Company's project Open Stages, running acting workshops for Dream 16 – A Play For the Nation. She has given masterclasses in Restoration Comedy at the Carnegie Mellon School of Drama where she directed The Rivals in 2012. She has contributed to the book Approaches to Actor Training and her book for the Crowood Press, Successful Auditions will be published next spring. She is writing for the next series of Arden Performance Handbooks for Bloomsbury Methuen: Shakespeare and Stanislavsky. She regularly gives both classical and contemporary audition workshops for The Mono Box of which she is a Patronand is an Open Door mentor.    Support the show (https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=EKHEKXBAZBQG6¤cy_code=GBP)

Rebecca Metz has a recurring role as Tressa, Sam's (Pamela Adlon) close friend and talent manager on the critically acclaimed, award-winning FX series BETTER THINGS now in its third season. This busy actress also stars on the popular Disney Channel show COOP & CAMI ASK THE WORLD. The bubbly redhead plays Jenna Wrather, the widowed mom of Coop and Cami and the only adult in the regular cast.A graduate of the prestigious Carnegie Mellon School of Drama, Metz has made her mark on television in memorable guest roles. She has guest starred on NIP TUCK, WEEDS, MARON, THIS IS US, GREY'S ANATOMY, FOR THE PEOPLE, BONES, MAJOR CRIMES, THE MENTALIST, BOSTON LEGAL, JUSTIFIED, SOUTHLAND, CALIFORNICATION, THE MINDY PROJECT, THE THUNDERMAN'S and in recurring roles on LOPEZ and SHAMELESS. Earlier in her career Metz garnered small roles on THE KING OF QUEENS, GILMORE GIRLS, ER and SCRUBS.A proud Jersey girl born and raised in Bruce Springsteen's hometown of Freehold, NJ, Metz was drawn to acting from an early age. Her parents, both classically trained singers, inspired her to follow a creative path, as did a favorite childhood TV show. “I honestly think the impetus for wanting to be an actor came from watching The Muppet Show,” she says with a laugh, “and from the backstage scenes, where it's all chaos and crisis and everyone tries to keep from showing it onstage. I thought that looked really fun.”In addition to her frequent television and commercial work, Metz has appeared in numerous independent and short films as well as the upcoming Disney feature film MAGIC CAMP. She is also a voiceover and stage actor whose theater credits include Sheila Callaghan's KATE CRACKERNUTS (24th Street Theatre) and Burglars of Hamm's award-winning musical, THE BEHAVIOR OF BROADUS (Sacred Fools).There is no question that Rebecca Metz is all about the small screen. “Television is going to places it's never been before”, she declares. “And I get to be a part of that. Every time I go to work, or even go to an audition that is in the front of my mind. I feel very fortunate to be here for it.”Twitter: @therebeccametzInstagram: @therebeccametz

Dr. Stephen Neely, Eurhythmics Professor at Carnegie Mellon School of Music, spoke with Matthew Rygelski about his teaching experience during the pandemic. 

The Madames chat with Chikako Suzuki, Emmy-winning art director on Marvel’s WandaVision. Chikako’s previous work for Marvel includes Runaways and Agent Carter. She’s worked on other female-centric shows including Dollface and Medium. In 2014, she became the first Japanese person to win an Emmy for art direction for the series House of Lies.  She is a graduate of San Francisco University in Theater Arts and earned a M.F.A. in Scene Design from the Carnegie Mellon School of Drama. WandaVision kicked off Phase 4 of the Marvel Cinematic Universe. The Disney+ series stars Elizabeth Olsen, Paul Bettany, Kathryn Hahn, Teyonah Parris, Kat Dennings, & Randall Park.  For a full transcript of the interview, visit the episode page on our website: Episode page link Email us at themarvelousmadames@gmail.com Follow us on Twitter  Instagram  Tumblr

For our tenth episode, I'm speaking with Jenny Belardi, Director of Development at Carnegie Mellon School of Computer Science, about what makes a great major gifts program.Jenny shares what makes a great major gifts officer, building lasting donor relationships, and how her team is adapting donor cultivation to meet a socially distanced world.Resources:Jenny mentions hiring staff who share the qualities of a "curious chameleon." You can find our more about this mysterious creature on the EAB website.

In this episode, Sam and Sarah get the opportunity to chat with playwright, director, deviser and artistic director of Prop Theater -- Olivia Lilley! Olivia Lilley is a playwright, director, and deviser who came up in Chicago's DIY scene. She uses a devised process to create and develop her plays that she's been honing since 2013. Olivia's work often ransacks classic literature or nonfiction with a collective and builds a new story for the current moment. Part Mary Zimmerman, Part John Cassavettes, Olivia's work is actor centric while also boldly multidisciplinary. She often collaborates with choreographer Kelly Anderson. Olivia is Artistic Director of Prop Thtr. She was the founding Artistic Director of The Runaways Lab Theatre and currently sits on their advisory board. She's an Artistic Associate at Pivot Arts, and she's curated at The Museum of Contemporary Art. Olivia attended Carnegie Mellon School of Drama for Directing, and Interlochen Arts Academy for Music Composition. To learn more about Olivia Lilley and her work, check her New Play Exchange at newplayexchange.org/users/10813/olivia-lilley To learn more about Prop Theater, visit the website at www.propthtr.org/ ------------------------------------------ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com --- Send in a voice message: https://anchor.fm/beckettsbabies/message Support this podcast: https://anchor.fm/beckettsbabies/support

In this episode, Sam and Sarah get the opportunity to chat with playwright, director, deviser and artistic director of Prop Theater -- Olivia Lilley! Olivia Lilley is a playwright, director, and deviser who came up in Chicago's DIY scene. She uses a devised process to create and develop her plays that she's been honing since 2013. Olivia's work often ransacks classic literature or nonfiction with a collective and builds a new story for the current moment. Part Mary Zimmerman, Part John Cassavettes, Olivia's work is actor centric while also boldly multidisciplinary. She often collaborates with choreographer Kelly Anderson. Olivia is Artistic Director of Prop Thtr. She was the founding Artistic Director of The Runaways Lab Theatre and currently sits on their advisory board. She's an Artistic Associate at Pivot Arts, and she's curated at The Museum of Contemporary Art. Olivia attended Carnegie Mellon School of Drama for Directing, and Interlochen Arts Academy for Music Composition. To learn more about Olivia Lilley and her work, check her New Play Exchange at https://newplayexchange.org/users/10813/olivia-lilley To learn more about Prop Theater, visit the website at https://www.propthtr.org/ _________________________ Please support Beckett's Babies by reviewing, sharing an episode to your friends, or follow us on Facebook, Instagram, Twitter: @beckettsbabies And as always, we would love to hear from you! Send us your questions or thoughts on playwriting and we might discuss it in our next episode. Email: contact@beckettsbabies.com For more info, visit our website: www.beckettsbabies.com

Actress Rebecca Metz, who has a recurring role as Tressa, Sam’s (Pamela Adlon) close friend and talent manager on the critically acclaimed, award-winning FX series Better Things, which is now in its third season. Metz also stars on the popular Disney Channel show, Coop Y Cami Ask The World. The bubbly redhead plays Jenna Wrather, the widowed mom of Coop and Cami and the only adult in the regular cast. A graduate of the prestigious Carnegie Mellon School of Drama, Metz has made her mark on television in memorable guest roles. She has guest starred on Nip Tuck, Weeds, Maron, This Is Us, Grey's Anatomy, For the People, Bones, Major Crimes, The Metnalist, Boston, Legal, Justified, Southland, Californication and a whole whost of other series, including reoccuring rolls on Lopez and Shameless.

This episode was recorded live at Akbar in Silverlake on April 21st, 2019. We start with our open-micers and then we hear from our headliners. First, is Charles Jensen-- he is the author of two poetry collections and six chapbooks. His poems have appeared in American Poetry Review, Crab Orchard Review, Prairie Schooner, and others. He directs the Writers' Program at UCLA Extension. Then we hear from Larry Powell an actor, writer, and producer born and raised in South Central LA. He is a graduate of the Carnegie Mellon School of Drama, and a Three-time NAACP theatre award nominee whose play Lost Dog will be premiering in Los Angeles.

Artist, designer, and educator Jiyoo Jye on the struggles of making art and choosing your projects; education at an innovation school as a creative; when to share your work and the role of feedback; media consumption and technology; and her approach to a simpler, greener life. Jiyoo is a visual artist, designer & educator. She works at NuVu Innovation School, where students learn within an architectural Studio model and create multi-displinary & collaborative projects. Ji has a Master's in Design Studies from Harvard University, Graduate School of Design and a Bachelor's of Fine Arts from Carnegie Mellon University, School of Art. She has previously worked for Area9 Lyceum, a physician-led software company specializing in adaptive learning technology. While finishing her graduate study, she worked with the Harvard Fogg Museum's, Division of Modern and Contemporary Art in creating an online archive for the American sculptor, Christopher Wilmarth. She has also been an editor & co-author for the Zofnass Program for Sustainable Infrastructure and a Communications fellow for the MIT Office of Sustainability. Connect with Jiyoo at Sweetish Segment and at @sweetishsegment on Instagram. Links Sweetish Segment Harvard GSD MIT Office of Sustainability Harvard Fogg Museum NuVu Hydroponics Arduino Books Regarding the Pain of Others by Susan Sontag A Clockwork Orange by Anthony Burgess The Poetics of Space by Gaston Bachelard People mentioned Christopher Wilmarth Christian Boltanski Susan Sontag Marlene Dumas Anthony Burgess Gaston Bachelard Episode notes Intro. [0:00] Jiyoo Jye. [0:55] What is NuVu? [2:37] How does your day-to-day look like? Learn about the tools and projects Ji is invested on daily with her students at NuVu. [2:50] What are you taking from your day job? [3:49] Was your experience studying as an artist at an architecture school? [4:34] Educating adults vs. teenagers. NuVu's model teaches students core skills in an interdisciplinary space, avoiding pressures where students need to excel in specific areas. [5:16] Hydroponics. [9:00] Your time at Carnegie Mellon School of Art. A maple tree, a dripping system, and more. [9:44] Challenges of being an artist. Learn about how Ji makes time to make art, the role it places in her life, and how she finds a place for art as a creative professional. [11:07] How do you choose what projects to focus on? "The kind of art is the one that can reflect the voice of that particular time." [12:57] Ji's current projects. Morphology series—a constant flow of movement of formations. [13:25] Activities and hobbies. [14:09] Would you consider your life simple? [14:36] How to share what you make. Ji thinks about finding ways to show your work in ways that go beyond an exhibit. [15:43] The role of feedback. (And having something for yourself.) [17:23] What is art? [18:14] Advice for new artists. [19:01] Who supported you? Learn about Ji's circles and her harshest critic. [19:55] Artist toolset. [21:12] Art mediums. [23:10] The ideal art session. [24:58] Daily routine - Ji tries to make something different from the previous day—might it be a change on the way she works or her schedule, to find ways to stay engaged in her day-to-day. [25:41] Commute. [26:28] Habits - Perfecting your head stand. [27:04] Compassion and isolation. [27:51] Boredom. [30:06] When you get your best ideas. [31:50] Social media. [32:43] Disconnection. [34:29] Media consumption - Learn about where Ji gets her media from. [35:32] Healthy relationship with technology. [36:23] Technology in art and design. [37:15] Book recommendations. [37:58] A successful person. [38:31] Clothing - "A fun and creative outlet for self-expression." [38:49] A cheap, positive purchase. [39:14] Favorite app. [41:00] Sustainability - Ji is (and always will be) invested in the green movement. [41:35] One sentence to the world - "Eat the sweetish segment or spit it out." [42:30] Unnecessary complexities. [43:25] Digital & physical clutter. [43:54] Cleaning rituals. [44:54] Spirit animal. [45:26] Nature. [45:57] Books on slow & simple living. [47:07] A question to Nono. [47:36] Submit your questions and I'll try to answer them in future episodes. I'd love to hear from you. If you enjoy the show, would you please consider leaving a short review on Apple Podcasts/iTunes? It takes less than 60 seconds and really helps. Show notes, transcripts, and past episodes at gettingsimple.com/podcast. Theme song Sleep by Steve Combs under CC BY 4.0. Follow Nono Twitter.com/nonoesp Instagram.com/nonoesp Facebook.com/nonomartinezalonso YouTube.com/nonomartinezalonso

We are back with a new Geektown Radio podcast with all the tv news, renewals & cancellations and other UK TV air date information you could ever need, plus an interview the lovely Elisabeth Vastola, Costume Designer for Season 2 of 'Jessica Jones'.Elisabeth is a New York-based costume designer who has worked in film, opera, theatre, television, and print. She has also been a Guest Lecturer at School of Visual Arts in New York and the Carnegie Mellon School of Drama in Pittsburgh. Her recent work includes ‘The Purge: Election Year’, ‘Hap and Leonard’ starring James Purefoy & Michael Kenneth Williams, and the film ‘Landline’ from fellow New Yorkers Elisabeth Holm & Gillian Robespierre.Her lasted job sees her joining the Marvel/Netflix world as costume designer on the recently released 'Jessica Jones' Season 2 and 'Daredevil' Season 3 which comes out later this year.Also On This Week's Show:Bex (aka TristaBytes) is back in the co-host chair so we chat gaming, tv shows, and movies including 'Suits', 'Happy!', 'Lost In Space', and that 'Venom' trailer!We take a look at all the latest tv & film news, including lots of renewals & cancellations, Lauren Cohan returning to 'The Walking Dead', Katee Sackhoff's new sci-fi drama ‘Another Life’ and Disney's new ‘Star Wars Resistance’ animated series.We give you our recommendations for upcoming TV in the next 7 days. See acast.com/privacy for privacy and opt-out information.

Please join us for the fifth episode in our Carnegie-Mellon School series as we discuss Barbara Levitt and James G. March’s brilliant literature review of “Organizational Learning,” published in the Annual Review of Sociology in 1988. This work surveyed the literature across various streams in organizational learning up through the 1980s. Topics include learning from experience, organizational memory, ecologies of learning, and organizational intelligence. Of particular interest is how organizational learning was defined as not an outcome but a process of translating the cumulative experiences of individuals and codifying them as routines within the organization. But an important question remains three decades later – do organizations really learn? Tune in as we wrestle with this question, and with many others!

Our discussion of “The Garbage Can Model of Organizational Choice” by Cohen, March, & Olsen, concludes with our reflections on the article. The model was provocative for its time, but what have we learned in the forty years since now that the garbage can model is better understood and accepted as common practice in organizations?Other posts in the Carnegie Mellon School series: Episode 4 on Organizational Routines, Episode 19 on Organizational Learning, Episode 29 on Business School Design,and our Series Introduction.

Our discussion of “The Garbage Can Model of Organizational Choice” by Cohen, March, & Olsen, continues as the podcasters discuss the technical aspects of the model and its implications for modern practice. Also from the Carnegie-Mellon School series: Episode 4 on Organizational Routines, Episode 19 on Organizational Learning, Episode 29 on Business School Design,and our Series Introduction.

Please join us for the fourth episode in our series of podcasts focused on works from the Carnegie-Mellon School. For this episode, the podcasters tackle “The Garbage Can Model of Organizational Choice” by Michael Cohen, James March, and Johan Olsen, published in Adninistrative Science Quarterly in 1972. The article was a radical departure from conventional thinking about choice and decision making at the time, where leaders identified problems and applied solutions rationally. Instead, the authors asserted that an organization was “a collection of choices looking for problems, issues and feelings looking for decision situations in which they might be aired, solutions looking for issues to which they might be the answer, and decision makers looking for work.”Also see: Episode 4 on Organizational Routines, Episode 19 on Organizational Learning, Episode 29 on Business School Design, and our Series Introduction.

On this week's Geektown Radio, we delve into all the latest tv news, including the 'Orphan Black' finale, 'Atypical', and 'Rick & Morty', we take a look at the latest UK air date information, plus we have an exclusive interview with costume designer Elisabeth Vastola. Elisabeth is a New York based costume designer who has worked in film, opera, theatre, television, and print. She has also been a Guest Lecturer at School of Visual Arts in New York and the Carnegie Mellon School of Drama in Pittsburgh. Her recent work includes ‘The Purge: Election Year’, ‘Hap and Leonard’ starring James Purefoy & Michael Kenneth Williams, and the film ‘Landline’ from fellow New Yorkers Elisabeth Holm & Gillian Robespierre. ‘Landline’ tells the story of two sisters, played by Jenny Slate and Abby Quinn, who find themselves bonding while investigating whether their father (John Turturro) is cheating on their mother (Edie Falco) in ’90s New York City. We talk to Liz about designing for a ‘period drama’ (yes 90’s is classed as ‘historical drama’ now… I'm so old…), and how fashion has changed. We also chat a little about her current show - Season 2 of ‘Marvel’s Jessica Jones’. Also On This Week's Show: Bex is back as co-host, so we catch up with the tv shows, films and games we've been watching & playing, including 'Hell On Wheels', 'Game Of Thrones', 'Fallout 4 - Nuka World, and 'Blood Drive'. We take a look at all the latest tv & film news, including Fox's potential non-CTU based ’24’ reboot, CBS's nuclear submarine drama ‘Trident’, and NBC's reboot of ‘The Munsters’. We give you our recommendations for upcoming TV in the next 7 days. See acast.com/privacy for privacy and opt-out information.

Upcoming Episode 4 is going to be focused on the “Carnegie Mellon School” with a special emphasis on organizational routines. You will note that the structure of Episode 4, and the episodes on this subject that follow, is slightly different because we have chosen to explore the ‘entire’ school by focusing on single key topics, which are identified across texts and authors. This is mostly because the authors within this tradition are not famous for just one work but have given rise to a series of what are considered to be seminal works. In this sense the Carnegie Mellon School resembles a small community of scholars in, what was at that time, a minor institution from which fundamental intellectual cornerstones emerged and which still have a great influence over management and organization studies (and many other fields as well!).Listen to this short introduction to find our more about how such episodes are going to work and about why we decided to pay such close attention to Carnegie Mellon School in particular.

AFTERBUZZ TV - AfterBuzz TV's Spotlight On, is a long form interview series featuring actors and TV personalities discussing their roles and shows as well as their thoughts, passions and journeys.In this episode host Annika Michelle interviews Dan Amboyer. Dan Amboyer (born December 28, 1985) is an American actor, best known for his starring role as Prince William of Wales in the 2011 Hallmark Channel original film William & Catherine: A Royal Romance, which also featured Victor Garber, Jean Smart, and Jane Alexander. Dan Amboyer was born in Detroit to Claudia and Dr. Donald Amboyer. He attended The Roeper School and arts high school Interlochen Arts Academy. Amboyer subsequently continued his studies at the Carnegie Mellon School of Drama, where he was offered early admittance following his junior year of high school. After graduation, he relocated to New York City and began performing in television and theatre. Amboyer has made guest appea --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Learn more about your ad choices. Visit megaphone.fm/adchoices

AFTERBUZZ TV - AfterBuzz TV's Spotlight On, is a long form interview series featuring actors and TV personalities discussing their roles and shows as well as their thoughts, passions and journeys.In this episode host Annika Michelle interviews Dan Amboyer. Dan Amboyer (born December 28, 1985) is an American actor, best known for his starring role as Prince William of Wales in the 2011 Hallmark Channel original film William & Catherine: A Royal Romance, which also featured Victor Garber, Jean Smart, and Jane Alexander. Dan Amboyer was born in Detroit to Claudia and Dr. Donald Amboyer. He attended The Roeper School and arts high school Interlochen Arts Academy. Amboyer subsequently continued his studies at the Carnegie Mellon School of Drama, where he was offered early admittance following his junior year of high school. After graduation, he relocated to New York City and began performing in television and theatre. Amboyer has made guest appea --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Audio File:  Download MP3Transcript: An Interview with Kim Polese CEO, SpikeSource, Inc. Date: July 17, 2007 NCWIT Interview with Kim Polese BIO: Kim Polese is the Chairman at CrowdSmart and former CEO of SpikeSource, Inc., a software company based in Silicon Valley. The company is backed by venture firm Kleiner Perkins Caufield & Byers and has developed an advanced automated testing technology for certifying interoperability of open source software, creating a continual "UL"-style certification for Global 2000 companies that depend on open source software applications to run their core business operations. The automation enables the delivery of low-cost, high-quality software to a mass market, resulting in more affordable and dependable software applications for business of all sizes worldwide. Prior to joining SpikeSource in August 2004, Kim co-founded Marimba, Inc., a leading provider of systems management solutions, in 1996. Marimba was acquired by BMC Software in June 2004. Kim served as President, Chief Executive Officer, and Chairman of Marimba, leading the company through a successful public offering and to profitability in 2000. Before co-founding Marimba, Kim worked in software management at Sun Microsystems and was the original product manager for Java, leading its launch in 1995. Prior to joining Sun, Kim was with IntelliCorp Inc., consulting for Fortune 500 companies in the development of expert systems. Kim earned a Bachelor’s degree in Biophysics from the University of California, Berkeley and studied Computer Science at the University of Washington in Seattle. Kim serves on several boards, including the Silicon Valley Leadership Group, the University of California President's Board on Science and Innovation, UC Berkeley's College of Engineering, the Carnegie Mellon School of Computer Science, and the Global Security Institute. Lucy Sanders: Hi, this is Lucy Sanders. I'm the CEO of the National Center for Women in Information Technology. This interview is one in a series of interviews that we're doing with fabulous IT entrepreneurs. With me today are Larry Nelson and Lee Kennedy. Larry is CEO of w3w3.com, and Lee is an insulate director. Welcome, Larry and Lee. Larry Nelson: Well, thank you. That's so great being able to get together and help support this type of thing. The Heroes program is sponsored by NCWIT, wonderful. At w3w3.com we archive everything and we push it out. We have a large audience, and we're happy to be part of this. Lee Kennedy: Thanks, Lucy. I'm excited to be here and be part of the interview series. Lucy: Today we're interviewing Kim Polese. We're so excited, Kim, to have you on the call. Kim Polese: Thank you, delighted to be here. Lucy: I have to say that your career has been one that I think is just awesome. When I look back at some of the things you've been involved with for example Java. I remember when Sun released Java. Us techies at Bell Labs were pretty excited about that, because it really enabled the Internet to come alive. You could bring applications along with the static web pages. That was just tremendously thrilling. Then, when you moved over into Marimba, worked on push technology, again, we were all rather thrilled that we could have stuff come to our desktop without even asking for it. That's pretty amazing. And now you have a new company Spikesource is a couple of years old, is that right? Kim: Yes. Actually, it was founded in 2003 and I joined. It was an incubation project at Kline & Perkins, a venture firm here in Silicon Valley. I joined in the fall of 2004. Lucy: I just think you've been on the leading edge of all of these different trends in software and software development. Why don't you give the listeners a little bit of information about Spikesource? Kim: Sure. I'd be happy to. So, Spikesource, basically its mission is in a nutshell to democratize software, and do that by bringing open source software to a mass market. When I say "democratize software", I mean make software as low‑cost and as easy to maintain, to use as possible. Software's a wonderful thing; it powers all sorts of service and appliances, the world around use every day. But it's also really complicated both to develop, package, maintain and support. Open source has provided a wonderful new abundance, a new ecosystem of software applications, components and infrastructure. It is really totally changing the software industry in a variety of ways, and really accelerating innovation. Software is getting better faster. There are many more people who are banging on it and making it better every day. That's a wonderful thing. It's an exciting time to be in the software world. But there's also a challenge with abundance. Businesses that have been using open source find very quickly that they get into a lot of overhead time and cost in maintaining open source application. The applications typically consist of dozens or hundreds of different open source components, all of which need to be updated, maintained and made to work together, continually integrated and tested. That's a huge problem. So, what Spikesource is doing is really helping that problem through automation. We're automating specifically the process of maintaining that software and ensuring that the software applications continue to work, stay up and running and are free of viruses, and so forth. It's really making the process of maintaining open source software invisible to the user. We're using very interesting approaches in computer science and automating the build test patch process, and creating an automatic test framework for basically packaging up, distributing, supporting and maintaining these open source applications. We're bringing to market a variety of open source applications. Basically taking many of the best applications out there on the Internet, email, content management, business intelligence, CRM and so forth, and offering those as packaged applications to business of all sizes. There's a low‑cost subscription maintenance stream along with it. So, in this way when I said "democratizing software", again, it's really about making software much easier to buy, to use, and to have supported at a much lower cost. That's now all possible because of open source and because of the new technologies that we're working on and others are participating in as well in innovating, automating and maintaining the software. Lucy: I think that the technologies involved with software engineering are some of the most complex. No question. And so, I can only imagine that the technologies that you're using at Spikesource are pretty advanced. Kim: Yes. Lucy: For sure. And that gets me to the first question that we wanted to ask you. In addition to some of the technologies that you're using today at Spikesource, what other technologies do you see on the horizon that you find particularly cool? Kim: Well, the open source world is really where most of the most interesting innovation is happening, in my view, in software today. That's because of the power of collaboration. You take, for example, virtualization. Virtualization, or virtualization software, there's a huge amount of innovation happening there. You see a lot of not only developers all over the world who are contributing to open source virtualization technologies, but also big companies that are standardizing on open source and using it to drive greater value in their hardware platforms. So, to me in general the most exciting place to be in software today is in the open source world. In virtually every category there's tremendous innovation happening and really a new generation of software is being developed. And there are a lot of very important supporting technologies and underlying infrastructure that's also helping make this happen. A lot of the service‑oriented architecture, the web services, the easy to use now APIs that make it possible to put pieces of software together more easily, and new techniques like Agile programming and so forth to make it easier to build software faster... But so much of that, again, really does come out of the open source world. We're finding that the open source model of building software is becoming more prevalent even within companies and across companies in vertical industries such as financial services and retail. Companies are now beginning to collaborate on creating applications that they can share to make their respective businesses more efficient. Lucy: In fact, I'm on a commission looking at the R&D ecosystem for IT. We were at Harvard and we listened to a researcher not too long ago who was studying open source and the movement of companies into open source. It was pretty interesting how that platform is really emerging. How did you first get into technology, Kim? Kim: I was actually a girl geek. I grew up in Berkeley, California and I was fortunate to really be exposed to science at a very early age. I started entering science fairs as a kid in elementary school and just found that I loved the idea of creating something new and exploring, and testing the limits of what was possible. Then, I found a place called the Lords Hall of Science, which is a public science museum here in the Bay Area. I went up there, again, as a kid in elementary school and started playing on the computers. There was a program called Eliza which was an early artificial intelligence software application that was running on the computers there. It was kind of like an online psychotherapist, and I really loved playing on the computer that ran Eliza and trying to get Eliza to go into a loop or act like a computer, again, see the limits of what was possible. So, all of that sparked my curiosity, my interest in not only science but specifically computers and software. I ultimately ended up getting a degree in biophysics, but at Berkeley I started to get more and more into computer programming and software development as an undergrad. That increasingly became where my interests were directed. Lucy: That's really cool. Kim, tell us why you're an entrepreneur and what it is about entrepreneurship that really makes you tick. Kim: Well, I've always loved creating new things. I love inventing and coming up with a new idea, running with it and seeing what's possible. There's nothing more exciting than setting out with a whole team of people on a mission, climb a mountain and actually doing it together, making it happen. So, I think it's the creativity. It's the element of being able to chart your own course, come up with your own idea. It's the challenge of making that idea actually into a successful business, which is two very distinct elements to building a successful company in the technology area. One is coming up with a great technology, but the other is actually making it work in the economic sense and the sense of the market acceptance. That turned out to be a whole separate creative process. All of that is very challenging. I love a challenge. I love climbing mountains and scaling new heights, because it's just fun when you get there and it's fun along the way. So, I found that that was just something I gravitated towards. I think it's just something that's been inside me forever. Lucy: And it's a pretty good view when you get to the top. Larry: I'll say. Kim, I can't help but reflect back. Quite some time ago, did I hear that you were one of those early radicals that were pushing free and open source software? Kim: Well, I did grow up in Berkeley, it's true. And I was hanging out at Cal when Bill Joy was a grad student. So, I do have it probably in my DNA by now. But I didn't actually get to immerse myself in open source until I joined Spikesource in 2004 and really started doing it as full‑time and really wrapping my head around the whole open source world and building a business. Larry: You've done a wonderful job. Now, you mentioned Bill Joy. We interview him probably five, six, seven years ago. Along the line, did you have any particular mentor, or support person or support group that really helped along the way? Kim: Well, I was very fortunate to work at a great company for seven years, Sun Microsystems. Sun was full of very bright I'd say demanding, people where there was a bar that was set high and you had to achieve more than you thought you were capable of. I look at the management team, the founders of Sun, Scott, Scott McNealy, Bill Joy, Vinod Khosla and Andy Bechtolsheim. They really were a great inspiration to me, each of them. Also, to me, at that time in the '80s as I was developing my career, Carol Vartz, who was a senior executive at Sun at the time, I really looked up to her. Sandy Kurtzig, Heidi Roizen, these were women who were really leading the way in building companies and proving that women could achieve great things in technology and software. So, I was surrounded I guess by many inspirational leaders, and I learned what I could from each of them and then really molded that into what I decided to do next, how I developed my career. Lucy: Kim, you've been in the thick of Silicon Valley and all the changes that have taken place over the last 10, 20 years, and you've had such an exciting career. When you look back, what's the toughest thing that you've had to do in your career? Kim: Well, there are many challenges in building a company. I'd say probably the toughest thing as a manager is letting someone go. It's actually making a decision that you know is right for the company and right for ultimately that individual, but always a tough thing to do. I'd say that's probably the top of the list, and that's just one of those management challenges that everyone has to deal with at a certain point. So, that's on the not so fun part. There are also challenges just inherently in building a business. I'd say the other thing that I have faced repeatedly, but actually is kind of a fun challenge, is the need to adapt to change. When you're starting a company and you're in a new market, you've got a new idea, it's unproven, there's precedent, you can't become attached to that one plan that you're going to execute on it. There's always going to be a reason why it doesn't exactly turn out that way, another twist in the path, another unexpected obstacle, but then unexpected opportunity at the same time. And so, adapting to change and being comfortable with change on a daily basis is something that can real tough at first, but once you get used to it, it's actually exhilarating. You love the challenge of being able to rise to the occasion and adjust course, change course as needed, and still keep your eye on the ultimate goal that you're headed towards. It's just that the path along the way is different from what you thought it would be. I'd say that's a more fun, tough thing that I've faced in business. Lucy: Well, and in face you ultimately get to the place where you really enjoy change. You wouldn't want to be working in something where that wasn't part of what you did every day. It really becomes part of the challenge. I think that's wonderful advice. You can share with us, a bit more advice that you might give to young people about entrepreneurship if they were sitting in the room with you right now. Kim: Sure. Well, there is a lot to say. If I were to boil it down to some of the things that come to mind first, it really has to do what I was just talking about. You might have a great idea, but you can't forget the market that you are launching it into, and all of the other constituents that need to contribute to the success of what you are setting out to do. For example, you may be launching a product in the market; the most brilliant product that anyone has developed or thought of but it turns out that it's just too early. A good example of this is I worked in artificial intelligence, AI, software back in the 80's. We built a fantastic software system that was an expert system, but the hardware requirements were prohibitive in terms of cost and just the overall expense of delivering an expert system. You had $50000.00+ computers required, and ultimately there wasn't a mass market for that back in the 80's. The software wasn't ready for the environment around it that it needed to rely on, so for entrepreneurs I'd say don't get too enamored of your idea. Make sure that you see the full picture and that you find a way to make it palatable in the market today and then chart a path to where you ultimately believe you can go and what the ultimate end goal is. But, don't be too wrapped up with getting to the end goal right off the bat. So, that's one thing. The other thing I'd say is get comfortable with saying "no" because as an entrepreneur you want to say "yes" to every possibility and every potential customer and partner that comes along. There is a temptation to do that, especially early on. You have to have the discipline to say, "You know what? We'd love to deliver this product into both the enterprise market and the consumer market, and we know the software is capable of working for both markets, but we're just going to focus on the enterprise market". That's the first step. From there we can build a bigger company and ultimately get to the broader market. Saying "no", we had to do this at Marimba, a decision we made very early on to focus on the enterprise and not the consumer market. It turned out to be the best decision we made, but it was a very tough one at the time because I knew we could do anything. We could absolutely serve a broader market, but you have to have the discipline to know what you are capable of and take one step at a time. Lucy: That's some very sage advice. What personal characteristics do you think have given you advantages as an entrepreneur? Kim: Probably the greatest one is persistence. It's never losing sight of that goal that you are charging toward and never losing faith that you will achieve that goal and being totally flexible and able to deal with any obstacle that comes along. Whether it's an obstacle in the market, a challenge with the team, whatever it happens to be, never giving up, never ever, ever, ever giving up. If you have that, you'll find a way to get to where you are going no matter what. I think that's probably for every successful entrepreneur you will find that that is the primary characteristic that made them. Lucy: In fact, we're finding that with this series of interviews. I believe that one of the people we interviewed a few weeks ago said there is this line between persistence and pesky. And it's OK to cross over it from time to time. Kim: Yeah, that's probably true. Lucy: I want to switch a minute into this issue of balance. I know there is a lot written about work and personal balance, and so we just wanted to ask, how do you bring balance into your life? Kim: Well, that's a great question. One thing I've always made sure to do is to continue to pursue the things I love to do in the rest of my life. One thing I love is dance. I've always done that, and I still do ballet and jazz. I've done it since I was a kid and will never stop. I find that it's tremendous; it's literally all balance. It's a great counterpoint, too, to do what I do all day long. It's also requires great focus and attention, and you just can't sort of space out while you're learning a piece of choreography. So, that's one thing I love. I love also mountain biking and getting out and just charging up a mountain. So, those are the things I have always done and will continue to do. I find also that the mind‑body balance is really important. If you are physically fit your mind is much sharper and you are able to run a marathon in business as well as physically. So, that's one way. The other is just time for family and friends. I always make time for family and friends. It's not enough ever, but you have to stand back every so often and think about what's really important in life. Those connections and relationships are really more important than anything, so I try and not always succeed as well as I'd like. But, I try as much as possible to keep that at the forefront, too. Larry Nelson: Kim, I want to thank you for what you've shared so far. It's easy to see by the discussion here why you were chosen as one of the heroes, that's for sure. Now, you have already achieved a great deal, and I know you are going to take Spike Source to another level. In addition to Spike Source, what is your next thing? What are you going to do next? Kim: Well, one thing I've always done is actually not plan too far in advance. Lucy: That's a good idea. Kim: The reason is sort of tongue‑in‑cheek, but I find that serendipity is a wonderful thing. I am in the most dynamic, exciting industry and, I think, place for the area and the world. I am surrounded by brilliant, creative people, and that network is ever expanding so I know that whatever I do next it will evolve from creating something new together with a team of people and doing our best to make an impact in some positive way in the world. I personally would like to find a way to make an impact in the world that goes beyond my industry. I haven't quite figured out when and how and what that will be, but that's something that I'd like to do in my life. I'm sure that the path will appear as it always has. As long as I follow my passion and surround myself with people that I love working with and respect and appreciate, I know that life will unfold in wonderful ways. I have faith. Lucy: I think that's just really well said. I'm just sitting here thinking you are just one of the top web entrepreneurs of our age. It's wonderful. We are so thrilled to have talked to you. Kim: Thank you. I am more than honored to be part of this series. Thank you. Larry: A couple of words that stick out in my mind, too, in addition to hear all this democratized, open source and serendipity. Lucy: That's great. And see I'm a techie so what stands out for me, open source, Java. So, Kim, thank you, thank you very much. Kim: Thank you. Lucy: We appreciate your joining us. I want to remind listeners where these podcasts can be found at www.ncwit.org and also at w3w3.com. Please do pass these along to friends who might want to listen. Kim, thanks again. Kim: Thank you, my pleasure. Series: Entrepreneurial HeroesInterviewee: Kim PoleseInterview Summary: Kim Polese has technology -- and innovation -- in her blood. Ever wondered who coined the term "Java"? That was Kim. Release Date: July 17, 2007Interview Subject: Kim PoleseInterviewer(s): Lucy Sanders, Larry Nelson, Lee KennedyDuration: 20:04