Podcasts about Columbia Pictures

The boys are all together for the 10 year anniversary of Spoilers! Gen. Bison (Raul Julia), the evil dictator of Shadaloo, captures a busload of relief workers and holds them for ransom. Col. Guile (Jean-Claude Van Damme) leads an international strike force to invade Shadaloo and rescue the hostages. Along the way, Guile recruits Chun-Li (Ming-Na Wen), a reporter and martial-arts expert whose father was killed by Bison years ago, two young con men (Damian Chapa, Byron Mann) and a sumo wrestler (Peter Navy Tuiasosopo). Release date December 23, 1994 (USA) Director Steven E. de Souza Budget 35 million USD Adapted from Street Fighter, Street Fighter II Running time 1h 42m Distributed by Universal Pictures, Columbia Pictures

Send Kevin a Text MessageMark Canton, producer of 300, Immortals, Men in Black, Air Force One, and My Best Friend's Wedding, former President of Worldwide Production at Warner Bros., and former Chairman of Columbia Pictures and Columbia TriStar Motion Picture Companies, joins host Kevin Goetz for a conversation about a career defined by passion and instinct. From delivering mail on the Warner Bros. lot as a college student to greenlighting some of Hollywood's most beloved films, Canton reflects on the legends he learned from, the risks he took, and why he still smells the circus every time he walks onto a sound stage.Queens, New York, and Family (02:34): Canton traces his love of film to a father who survived being shot down over France in WWII, won an Oscar for a short film on Van Gogh, and went on to do publicity for Hitchcock and Dr. Martin Luther King Jr., and to a mother who was a published poet. The movies, he says, were always destiny.Learning from the Greats on Papillon (15:22): Working for director Franklin Schaffner in Jamaica and living between the houses of Steve McQueen and Dustin Hoffman, Canton learned what it meant to commit to a film.From the Warner Bros. Mail Room to Running the Studio (20:31): Canton traces his rise from UCLA film student to head of Worldwide Production at Warner Bros., sharing stories about the Vacation franchise, Caddyshack, and Lethal Weapon.Taking the Helm at Columbia Pictures (39:22): Recruited by Peter Guber and Jon Peters, Canton became Chairman of Columbia Pictures and later oversaw Columbia TriStar. He reflects on the team he assembled and the record-breaking run that followed, including Jerry Maguire, My Best Friend's Wedding, Bad Boys, and Air Force One.The Art of the Difficult Screening (47:51): Canton recounts two defining test screening moments: a chaotic preview of Scorsese's The Age of Innocence in a New Jersey bowling alley, and a tough audience response to Luc Besson's Léon: The Professional that led to an ultimatum and a reworked film that became a modern classic.The Cable Guy and No Regrets (50:43): Canton defends paying Jim Carrey $17 million and notes what history confirmed: the film launched Ben Stiller's directing career, introduced Jack Black, Owen Wilson, and Judd Apatow. He also recalls his affectionate standoff with Mike Nichols over the ending of Wolf.What Keeps Audiences Coming Back (54:50): Canton argues that what fills theaters today is the same thing that made Purple Rain a phenomenon: the feeling of a live, communal, irreplaceable experience.Host: Kevin GoetzGuest: Mark CantonProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment)For more information about Mark Canton:Wikipedia: https://en.wikipedia.org/wiki/Mark_CantonIMDB: https://www.imdb.com/name/nm0004799/Instagram: https://www.instagram.com/markcanton/?hl=enFor more information about Kevin Goetz:- Website: www.KevinGoetz360.com- Audienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678- How to Score in Hollywood: https://www.amazon.com/How-Score-Hollywood-Secrets-Business/dp/198218986X/- Facebook, X, Instagram, TikTok, YouTube, Substack: @KevinGoetz360- LinkedIn @Kevin Goetz- Screen Engine/ASI Website: www.ScreenEngineASI.com

Front Row Classics welcomes historian Jim Pauley to take a look at the history of Columbia Pictures. Jim recently penned "Columbia Pictures: A Century of Hollywood Motion Picture Magic". The book takes readers of the legendary studio during Hollywood's Golden Age. The book has hundreds of photos, including studio documents, vintage publicity stills, and candids, along with aerial views and maps. The majority of the photos have never been published before. "Columbia Pictures: A Century of Hollywood Motion Picture Magic" is available from Lyons Press wherever books are sold. Jim Pauley is a Hollywood historian with a special interest in the studio of Columbia Pictures and the famous comedy team The Three Stooges. In December 2012, his book titled The Three Stooges: Hollywood Filming Locations was published by Santa Monica Press. Pauley has given numerous presentations on The Three Stooges filming locations, which included Columbia Pictures. These presentations were given in Hollywood and other locations in California, as well in the Philadelphia area where he is from.    

Dans le film “2 heures moins le quart avant Jésus-Christ” de Jean Yanne sorti en 1982, censé se passer dans l'Antiquité romaine, on voit des chars avec des pneus et des gyrophares, une lampe de bureau, une casquette de baseball, ou encore un micro et une caméra. Ces anachronismes sont ici voulus puisqu'il s'agit d'une parodie de Péplum, que l'on vous conseille d'ailleurs, c'est très drôle. Mais dans d'autres films d'époque, il arrive fréquemment que des anachronismes involontaires soient relevés par les experts. Comment se fait-il que de telles erreurs restent à l'écran ? Est-ce que ça arrive souvent ? Même dans les grands films ? Écoutez la suite de cet épisode de "Maintenant Vous Savez - Culture". Un podcast Bababam Originals, écrit et réalisé par Béatrice Jumel. Première diffusion : juin 2023 À écouter aussi : ⁠Comment la belle-mère est-elle devenue la méchante des contes de fées ?⁠ ⁠Pourquoi l'Arc de Triomphe aurait-il pu être un éléphant ?⁠ ⁠Qui est la femme à la torche du logo Columbia Pictures ?⁠ Retrouvez tous les épisodes de ⁠"Maintenant vous savez - Culture"⁠. Suivez Bababam sur ⁠Instagram⁠. Learn more about your ad choices. Visit megaphone.fm/adchoices

Vores klassiske segment Disseker en klassiker er tilbage, og det er ikke med hvilken som helst film i fokus. Det er nemlig den ultimative klassiker Shawshank Redemption, også kendt som En Verden Udenfor på dansk og nummer 1 på IMDb's top 250 over bedste film nogensinde. På plads i studiet er Anders, Peter og Tobias, der alle er vokset op med Shawshank, og som alle blev glædeligt overrasket over deres rewatch til dagens anledning. Vi høres på åen. Forresten... Vi er på Twitter - og Instagram-mediet: @streamaaen Og også Facebook: www.facebook.com/streamaaen. Kontakt os gerne: streamaaen@gmail.com. Bag podcasten står Peter Vistisen, Tobias Iskov Thomsen og Anders Zimmer Hansen - alle tidligere borgere i Zihuatanejo. Yderligere info Citat fra film: Shawshank Redemption (Castle Rock Entertainment, Columbia Pictures) - composer: Thomas Newman Sangen Sull'aria, som bruges i podcasten, har et udløbet copyright og er frit tilgængeligt via commons.wikimedia.org: Wolfgang Amadeus Mozart: Le Nozze di Figaro Ferenc Fricsay, RIAS-Symphonie-Orchester, Renato Capecchi, Irmgard Seefried, Dietrich Fischer-Dieskau, Maria Stader, Hertha Töpper Date 1 January 1961 Source Deutsche Grammophon Author Ferenc Fricsay, RIAS-Symphonie-Orchester, Renato Capecchi, Irmgard Seefried, Dietrich Fischer-Dieskau, Maria Stader, Hertha Töpper Beskrivelse af sangen: This sound recording is not protected because it was published in the European Union more than 50 (Directive 2006/116/EC) or 70 years ago (Directive 2011/77/EU) and the rights of its performers and producers have expired. Attribution: Ferenc Fricsay, RIAS-Symphonie-Orchester, Renato Capecchi, Irmgard Seefried, Dietrich Fischer-Dieskau, Maria Stader, Hertha Töpper, Public domain, via Wikimedia Commons

"E.T. phone home" For Episode 400, Brandon, Thomas, and David celebrate over a decade of CineNation with Steven Spielberg's E.T. the Extra-Terrestrial, as part of the show's series on Alien movies. Listen as they discuss how E.T. was going to be Spielberg's first try at The Fablemans, how a failed Close Encounters sequel inspired multiple Spielberg movies, the unique way Melissa Mathieson worked with Spielberg on the script, why Columbia Pictures sold the rights to the movie during pre-production, how Spielberg and the casting team found the talented child actors like Drew Barrymore, how the film was the first feature film by several of the department heads, and so much more! Thank you to everyone who has been a part of the CineNation Podcast, and to the people who continously support us! Also, apologies if the audio sounds a little off in spots. Brandon's recorder, which he's been using for years, stopped working during the recording. We apologize for the quality in moments. Use the code cinenation15 on thecinevault.com to get 15% off your online purchase! Also, don't forget to join our Patreon for more exclusive movie content: https://www.patreon.com/cinenation Opening - CineNation's 400th (00:00:10) Recap of the Alien Genre (00:03:42) Intro to E.T. the Extra-Terrestrial (00:08:42) How E.T. the Extra-Terrestrial Got to Production (00:13:15) Favorite Scenes (00:30:52) On Set Life - (01:07:34) Aftermath: Release and Legacy (01:16:20) What Worked and What Didn't (01:23:00) Film Facts (01:31:27) Awards (01:35:26) Final Questions on the Movie (01:40:44) Celebrating 400 Episodes (01:45:43) Wrapping Up the Episode (01:53:33) Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter/X: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast

This week we talk about Steven Spielberg's choatic comedy flop 1941. When I Google "1941 movie" I get Citizen Kane. This movie is not Citizen Kane.SPOILER ALERT We do talk about this movie in its entirety. If you plan on watching it, for God knows what reason, we suggest you do so before listening to our takes.A Universal Pictures and Columbia Pictures production. Released on December 14, 1979. Directed by Steven Spielberg. Written by Robert Zemeckis and Bob Gale, based on a story by Zemeckis, Gale, and John Milius. Starring Dan Aykroyd, Ned Beatty, John Belushi, John Candy, Christopher Lee, Toshiro Mifune, and Robert Stack. Cinematography by William A. Fraker. Edited by Michael Kahn. Score by John Williams.

Movie of the Year: 1971Sweet Sweetback's Baadasssss SongThe Sweet Sweetback's Baadasssss Song PodcastThe Sweet Sweetback's Baadasssss Song podcast brings Ryan, Mike, and Greg to one of 1971's most radical and uncompromising films. Melvin Van Peebles wrote, directed, produced, scored, edited, and starred in this landmark independent work — entirely outside the Hollywood system. The result is a film unlike any other in the bracket. Above all, it challenges every assumption about who gets to make movies, and why.This week, the Taste Buds dig into three major threads: the film as a revolutionary political act, its polarizing form and style, and its complex treatment of sex and gender. Furthermore, they induct a film into the PopFilter Hall of Fame and take on Recast the Podcast. It is a wide-ranging, debate-heavy episode from first minute to last. The Movie of the Year 1971 bracket has produced bold conversations — and this one may be the boldest yet.About the FilmSweet Sweetback's Baadasssss Song follows Sweetback (Van Peebles), a Black sex-show performer raised in a brothel. When police use him as a convenient patsy, he fights back — killing two racist cops and becoming a fugitive. He runs south toward the Mexican border. Along the way, the Black community shelters him. Bikers, revolutionaries, and sex workers cross his path. Consequently, the film becomes less a conventional chase narrative and more an odyssey of Black survival and defiance.Van Peebles privately funded the film after walking away from a studio deal at Columbia Pictures. He served as one-man auteur across every department. The film opened in just two theaters in March 1971 — Detroit and Atlanta. Nevertheless, it broke box office records on opening night and went on to gross over $15 million. The MPAA assigned it an X rating. Van Peebles turned that into the defiant tagline: "Rated X by an all-white jury." The Black Panther Party declared it required viewing for all members.Learn more at the Wikipedia entry for Sweet Sweetback's Baadasssss Song and the IMDb listing. The Criterion Collection has released a definitive edition of the film — explore it at Criterion.com. The American Film Institute has also recognized the film's landmark status — read the AFI Movie Club entry here.A Movie Revolution: Van Peebles and the Politics of IndependenceVan Peebles did not simply make a film — he staged a full act of defiance. Studio backing, the ratings system, and traditional distribution were all refused outright. Moreover, he financed part of the production by borrowing $50,000 from Bill Cosby, keeping total creative control throughout. The result was a film the industry could not co-opt, contain, or dismiss. For listeners of any Melvin Van Peebles podcast or documentary, the story of how this film got made is as remarkable as the film itself.The release strategy was equally radical. Van Peebles released the soundtrack before the film — an unusual move at the time — to build word-of-mouth in Black communities without spending money on traditional advertising. The score featured a very young Earth, Wind & Fire. By contrast, Hollywood in 1971 was still releasing social-problem films that sought respectability over truth. Sweetback rejected that approach entirely. Notably, its commercial success proved that Black-led, Black-financed films could find a massive audience without white institutional gatekeepers.Ryan, Mike, and Greg debate what Van Peebles' revolution actually accomplished. Was it the birth of a genuinely new Black cinema? Or did it also open the door for the blaxploitation genre — a category Hollywood quickly co-opted and stripped of its radical politics? Additionally, the Taste Buds ask whether the DIY model Van Peebles pioneered holds lessons for independent filmmakers working today. As a blaxploitation film podcast discussion, this episode goes deeper than genre classification — it asks what political filmmaking actually costs.Form, Style, and Watchability: A Sweet Sweetback's Baadasssss Song Podcast Deep DiveThe film's style is not subtle. Van Peebles employs jagged jump cuts, kaleidoscopic superimpositions, and psychedelic sound design throughout. These choices feel closer to Jean-Luc Godard than to anything playing at an American theater in 1971. However, they also produce a film that polarizes audiences to this day. The Sweet Sweetback's Baadasssss Song podcast tackles this polarization head-on.Some viewers find the style exhilarating — a sustained howl of rage rendered in pure cinematic form. Others find the loose structure and repetitive sequences frustrating. The Taste Buds confront this tension directly. Furthermore, they ask whether "watchability" is even the right standard for a film that never set out to be comfortable or conventional.The soundtrack adds another dimension entirely. Van Peebles composed and performed the score himself, with Earth, Wind & Fire providing the instrumental backing. The music pulses through the film like a second heartbeat. Consequently, sound and image work together to create a sensory experience unlike any other 1971 film in the bracket. Ryan, Mike, and Greg weigh in on whether Van Peebles' formal choices ultimately serve the film's political goals — or occasionally work against them.Sex, Gender, and ControversySweetback's sexuality is central to the film's identity. His sexual power is his primary weapon and his means of survival. Van Peebles frames this as a form of liberation — a radical Black body asserting itself against a system designed to destroy it. However, the film's treatment of women and of queer characters draws sharp criticism from contemporary audiences.Women in the film exist largely in relation to Sweetback's desires. The film includes graphic sexual content, some of it deeply uncomfortable by any modern standard. Moreover, the film's portrayal of lesbian characters is explicitly homophobic. The Taste Buds wrestle with how to hold these contradictions honestly. A film can be genuinely revolutionary and genuinely problematic at the same time. In fact, Sweet Sweetback's Baadasssss Song may be the most complex example of that tension in the entire 1971 bracket.Additionally, the film's opening sequence — depicting a child's sexual initiation — has unsettled audiences for over fifty years. Van Peebles cast his own son Mario in the role. That decision raises serious ethical questions that Ryan, Mike, and Greg do not avoid. Ultimately, the conversation around sex and gender in this film is not a comfortable one — and that discomfort is precisely what makes it essential. This is one of the most challenging discussions in the 1971 film podcast series to date.PopFilter Hall of FameEach season of Movie of the Year, the Taste Buds set aside the bracket to recognize films that define an era. The PopFilter Hall of Fame is not about winning a head-to-head matchup. It honors the films that changed cinema itself — the ones that opened doors, broke rules, and made everything that came after possible.The Hall of Fame carries special weight in this episode. Sweet Sweetback's Baadasssss Song raises the question of what "greatness" means for films that operate outside mainstream critical frameworks. A film does not need to be comfortable, polished, or widely loved to be important. The Hall of Fame exists precisely to honor that distinction. This week, the hosts make their cases for a 1971 inductee. Tune in to hear which film earns the honor — and whether all three Taste Buds can agree on the pick.Recast the PodcastIn Recast the Podcast, Ryan, Mike, and Greg take on one of cinema's great thought experiments. They choose a film and rebuild the cast from scratch — drawing on actors from any era, any genre, any corner of film history. Each host makes their picks. Then the debate begins.Sweet Sweetback's Baadasssss Song presents a unique challenge for Recast the Podcast. The film was defined by Van Peebles' decision to cast himself. Sweetback's blank-faced, nearly wordless presence was a deliberate choice — not a performance in the conventional sense, but a statement. Who could step into that role today? Who has the gravity, the physicality, and the political weight to carry the film's central conceit? The Taste Buds bring their full range of cinematic knowledge to the question. Listen in to hear their picks, the reasoning behind each choice, and where the three hosts inevitably disagree.Why Sweet Sweetback's Baadasssss Song Still MattersSweet Sweetback's Baadasssss Song was never meant to be easy. Van Peebles built it as a provocation — a film that demanded a response. More than fifty years later, it still gets one. The film's influence runs through Spike Lee, John Singleton, Ava DuVernay, and virtually every Black filmmaker who followed. However, its importance is not only historical. The questions it raises about representation, power, and who controls the means of production are still urgent today.Furthermore, the film's DIY model anticipated the independent film movement by decades. Van Peebles proved that a filmmaker could retain complete creative control, bypass the studio system entirely, and still reach an enormous audience. That lesson has...

Send us Fan MailThe bats are ready to emerge from their winter hibernation in the United States, and we are back with an Adorable Animals All-Out Attack celebration! We are blessed by the presence of Lou Diamond Phillips in Bats (1999), Columbia Pictures was hoping that Nightwing (1979) would be their next summer blockbuster, and then from there, Bela Lugosi is so done with imbecilic, bombastic ignoramuses in The Devil Bat (1940)!

The Oscar-winning producer of films like 'Chariots of Fire,' 'Local Hero,' 'The Killing Fields' and 'The Mission,' who was once described by the New York Times as "the white knight of the British film industry," and who later became the first non-American to run a Hollywood studio, reflects on his path from school dropout to ad industry phenom to filmmaking; why he so often bet on first-time directors, non-star actors and character-driven dramas; and his brief and turbulent time running Columbia Pictures. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dive into the eerie world of Return of the Vampire (1942), a chilling wartime horror film starring the legendary Bela Lugosi. Often considered an unofficial follow-up to Dracula, this overlooked classic blends Gothic horror with World War II intrigue in a uniquely atmospheric way.  In this video, Chris and Gerry explore the film's origins, its connection to Lugosi's iconic vampire roles, and why Return of the Vampire deserves more recognition among classic horror fans. We'll also discuss standout performances, memorable scenes, and how the film fits into the evolution of vampire cinema.  Whether you're a longtime fan of vintage horror or discovering this film for the first time, this deep dive uncovers what makes Return of the Vampire a hidden gem of the 1940s. Topics Covered: Bela Lugosi's performance and legacy The film's connection to Dracula lore Wartime horror themes Columbia Pictures vs Universal Horror Why the film remains underrated Don't forget to like, comment, and subscribe for more classic horror content!

This week, we discuss Steven Spielberg's follow-up to Jaws, the science fiction classic, Close Encounters of the Third Kind, a film that traded the alien invasion tropes of the 1950s for a sense of spiritual wonder, mystery and awe. And five famous bars of John WIlliams music.SPOILER ALERT We will be talking about this movie in its entirety, including the iconic five-tone sequence and the transformative finale at Devil's Tower. If you haven't seen this masterpiece, we strongly suggest you watch it before listening to our takes.A Columbia Pictures and EMI Films production. Released on November 16, 1977. Directed and written by Steven Spielberg. Starring Richard Dreyfuss, François Truffaut, Melinda Dillon, Teri Garr, and Bob Balaban. Cinematography by Vilmos Zsigmond. Edited by Michael Kahn. Music by John Williams.

pWotD Episode 3242: Spider-Man: Brand New Day Welcome to popular Wiki of the Day, spotlighting Wikipedia's most visited pages, giving you a peek into what the world is curious about today.With 280,739 views on Wednesday, 18 March 2026 our article of the day is Spider-Man: Brand New Day.Spider-Man: Brand New Day is an upcoming American superhero film based on the Marvel Comics character Spider-Man. Produced by Columbia Pictures, Marvel Studios, and Pascal Pictures, and distributed by Sony Pictures Releasing, it is intended to be the 38th film in the Marvel Cinematic Universe (MCU) and the fourth film in the MCU Spider-Man film series following Spider-Man: No Way Home (2021). The film is being directed by Destin Daniel Cretton, written by Chris McKenna and Erik Sommers, and stars Tom Holland as Peter Parker / Spider-Man alongside Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal, Tramell Tillman, Michael Mando, and Mark Ruffalo. In the film, Parker anonymously protects New York City as the hero Spider-Man and uncovers a larger mystery while investigating a series of crimes.Sony was developing a fourth MCU Spider-Man film by August 2019 alongside No Way Home. Producer Amy Pascal revealed in November 2021 that it was intended to be the first in a new trilogy of Holland-led Spider-Man films, with work on the story beginning that December. McKenna and Sommers returned as writers from the previous films by February 2023, Cretton was hired to direct by October 2024, and the title was announced in March 2025. Filming began in August 2025 with location filming in Glasgow, Scotland, while soundstage work occurred at Pinewood Studios in England. Additional location work occurred throughout England, and filming wrapped in December.Spider-Man: Brand New Day is scheduled to be released in the United States on July 31, 2026, as part of Phase Six of the MCU.This recording reflects the Wikipedia text as of 02:31 UTC on Thursday, 19 March 2026.For the full current version of the article, see Spider-Man: Brand New Day on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Bluesky at @wikioftheday.com.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Salli.

Following a major legal filing, Disney and Paramount have been revealed as two of the key participants in a new piracy crackdown that also targeted the unauthorized distribution of popular anime titles, alongside Warner Bros., Universal, and Columbia Pictures.Per TorrentFreak, the Alliance for Creativity and Entertainment (ACE), represented by the Motion Picture Association (MPA), officially filed a subpoena request on Feb. 13, 2026, at a California District Court, demanding that Cloudflare disclose the personal details of the individuals operating 15 major piracy websites. The details include names, physical addresses, IP addresses and payment information for the operators.According to a declaration by Larissa Knapp, the Executive Vice President and Global Chief Content Protection for the MPA, the action is being taken on behalf of major members, including Disney Enterprises, Inc., Paramount Pictures Corp., Columbia Pictures Industries, Inc., Universal City Studios Productions LLLP and Warner Bros. Entertainment, Inc.

Producer Zainab Azizi joins GG Hawkins to break down her journey from agency mailroom to President of Raimi Productions and producing studio features like Send Help. Azizi shares how she develops original ideas, packages talent, protects projects through shifting studio mandates, and leads with a collaborative producing style. She also discusses mentoring female producers, balancing creative and financial realities in modern filmmaking, and why theatrical success for original films still matters. In this episode, No Film School's GG Hawkins and guest Zainab Azizi discuss... How Send Help evolved from a logline in 2019 to a theatrical release Moving the project from Columbia Pictures to 20th and navigating studio mandate shifts Why Sam Raimi was essential to directing the film—and how storyboards helped secure studio confidence Packaging as a producer: attaching directors and actors through agency relationships Casting Rachel McAdams and Dylan O'Brien and building chemistry into the film's core dynamic The tension between “social media value” and creative talent in casting decisions What Azizi learned in the WME mailroom and how agencies really function behind the scenes Different types of producers (creative, line, financing, studio producers) and protecting the “PGA” credit Her collaborative leadership style and the “three solutions for every problem” rule Mentorship, promoting female producers, and fostering more women-led sets Why theatrical releases for original films still matter in 2026 Developing a Seshu Hayakawa biopic and why his story feels urgent today The importance of sacrifice, networking, and embracing rejection early in your career Memorable Quotes: “My job is to find three solutions for every problem.” “Rejection is just redirection. We celebrate rejections.” “If it scares you, it means you're headed the right direction.” “You have to put yourself out there.” Guests: Zainab Azizi – President of Raimi Productions and producer of Send Help Resources: LaBelle Foundation (for adopting Cactus the foster puppy) Producers Guild of America (PGA) Producers United Find No Film School everywhere: On the Web: No Film School Facebook: No Film School on Facebook Twitter: No Film School on Twitter YouTube: No Film School on YouTube Instagram: No Film School on Instagram

Quando l'intenzione è seria, ma il risultato è tutto da ridere. Anaconda, regia di Tom Gormican, con Jack Black, Paul Rudd e Steve Zahn, prodotto da Columbia Pictures, distribuito da Eagle Pictures.

Adam Sandler tries to redeem the bust of Little Nicky with his 2002 Mr. DeedsDirected by Steven BrillScreenplay byTim HerlihyBased on Mr. Deeds Goes to Townby Robert Riskin"Opera Hat" by Clarence Budington KellandProduced by Sid Ganis, Jack GiarraputoStarring Adam Sandler, Winona Ryder, Peter Gallagher, Jared Harris, Allen Covert, Erick AvariJohn TurturroCinematography Peter Lyons CollisterEdited by Jeff GoursonMusic by Teddy CastellucciProduction companies Columbia Pictures, New Line Cinema, Happy Madison ProductionsOut of the Blue... EntertainmentDistributed bySony Pictures ReleasingRelease dateJune 28, 2002Running time96 minutesBudget$50,000,000 (estimated)Gross US & Canada$126,293,452Opening weekend US & Canada$37,162,787Jun 30, 2002Gross worldwide$171,269,535

ColorScapes, explores how seasonal color and light affect our emotions, learning, and overall well-being. From spring's hopeful pastels to winter's introspective tones, Lee offers an accessible, science-meets-art perspective on how color perception influences mood, focus, and creativity. It's a perfect conversation for audiences eager to understand the educational and emotional power of art in everyday life.With over four decades of experience connecting audiences to art and culture through her work at the Smithsonian Institution, Library of Congress, and collaborations with DreamWorks, Showtime, and Columbia Pictures, Lee now turns her talents to teaching through poetry. Her multi-cultural upbringing in France and India—coupled with her lifelong dedication to education and the arts—makes her an engaging voice for discussions about creative literacy, emotional intelligence, and cross-cultural learning.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Welcome to our Summer Series where we're replaying some of our most popular episodes over the last 3 years so you can discover episodes you haven't heard before or re-listen to some fan favourites. In this episode, Nicola and Di chat with the hilarious and uplifting Kathy Lette. Kathy is a celebrated comic writer who has penned 20 novels, many of which have become international bestsellers and been turned into films, TV series and even an opera. Kathy’s career began when she wrote the iconic novel Puberty Blues when she was just 17. She went on to do stints as a singer, a newspaper columnist and a sitcom writer for Columbia Pictures in LA. These days she’s an author, travel writer and TV presenter and her latest book, The Revenge Club, is a must-read for every woman. Kathy talks about life in her sixties - or as she lovingly calls them, her sexties. She shares how life just gets better, you enjoy life more and you can finally put yourself first for a change. Kathy shares about the importance of female friendships and how much of a positive impact they’ve had on her life. We hear what it was like for Kathy when she fell in love with Geoffrey Robertson after appearing on a TV show with him, when she was still married to her first husband, Kim. Kathy tells great stories about her life in London with Geoffrey and some of the incredible people that stayed in their attic - James Hewitt, Julian Assange and Salman Rushdie to name just a few. You won’t want to miss Kathy’s story about that time she got asked out by George Clooney (an unknown, fresh-faced actor) and said ‘No’. The good news is, it’s all worked out for Kathy who met her current partner whilst walking through the park on a hot summer’s day - another great story you’ll want to hear. We also talk to Kathy about the benefits of laughter, her positive spirit, and the joy that she brings to the world. It was an absolute delight having Kathy entertain us in the studio and we hope you laugh as much as we did. Follow Kathy Lette on IG here Buy The Revenge Club here Find more of Kathy’s books here Follow Nicola and Di on IG here Watch Over The Back Fence on YouTube here - https://www.youtube.com/@Overthebackfencepodcast/podcastsSee omnystudio.com/listener for privacy information.

28 Years Later: The Bone Temple is a 2026 post-apocalyptic horror film directed by Nia DaCosta and written by Alex Garland. It was shot back-to-back with its predecessor 28 Years Later (2025), and serves as the fourth installment overall in the 28 Days Later film series. The film stars Ralph Fiennes, Jack O'Connell, Alfie Williams, Erin Kellyman, and Chi Lewis-Parry.28 Years Later: The Bone Temple was released by Sony Pictures Releasing through its Columbia Pictures label in the United Kingdom on 13 January 2026, as part of a double bill with its predecessor, with the film being individually released the following day on 14 January. It was released in the United States on 16 January 2026, and received generally positive reviews from critics. The film has grossed $31.2 million worldwide, making it the second-highest-grossing film of 2026.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

28 Years Later: The Bone Temple is a 2026 post-apocalyptic horror film directed by Nia DaCosta and written by Alex Garland. It was shot back-to-back with its predecessor 28 Years Later (2025), and serves as the fourth installment overall in the 28 Days Later film series. The film stars Ralph Fiennes, Jack O'Connell, Alfie Williams, Erin Kellyman, and Chi Lewis-Parry.28 Years Later: The Bone Temple was released by Sony Pictures Releasing through its Columbia Pictures label in the United Kingdom on 13 January 2026, as part of a double bill with its predecessor, with the film being individually released the following day on 14 January. It was released in the United States on 16 January 2026, and received generally positive reviews from critics. The film has grossed $31.2 million worldwide. Hosted on Acast. See acast.com/privacy for more information.

2018 brought us one of the most interesting animated films of all time - not only that, it's a pretty dang good Spider-Man movie. Join us as we watch Spider-Man: Into The Spider-Verse. Directed by Bob Persichetti, Peter Ramsey, Rodney RothmanScreenplay byPhil Lord, Rodney RothmanStory by Phil LordBased on Marvel ComicsProduced by Avi Arad, Amy Pascal, Phil Lord, Christopher Miller, Christina SteinbergStarring Shameik Moore, Jake Johnson, Hailee Steinfeld, Mahershala Ali, Brian Tyree Henry, Lily Tomlin, Luna Lauren Vélez, John Mulaney, Kimiko Glenn, Nicolas Cage, Liev SchreiberEdited by Robert Fisher Jr.Music by Daniel PembertonProduction companies Columbia Pictures, Marvel Entertainment, Sony Pictures Animation, Pascal Pictures, Arad Productions, Lord Miller ProductionsDistributed bySony Pictures ReleasingRelease dates December 1, 2018 (Regency Village Theater), December 14, 2018 (United States)Running time117 minutesBudget$90,000,000 (estimated)Gross US & Canada$190,241,310Opening weekend US & Canada$35,363,376Dec 16, 2018Gross worldwide$394,884,133

Welcome to The Reel Schmooze with ToI film reviewer Jordan Hoffman and host Amanda Borschel-Dan, where we bring you all the entertainment news and film reviews a Jew can use. This week, we hear amazing Jangles (entertainment news a Jew can use) from Hoffman, including the contentious NY launch of "Marty Supreme" and the inside scoop into actor Jack Black's superwoman of a mother. We hear a full-throated recommendation from Borschel-Dan for a multi-media performance she caught that is touring Israel. Based on journalist and author Matti Friedman's "Who By Fire: Leonard Cohen in the Sinai," the Beit Avichai production will announce its schedule of future shows in April. The pair hunker down to review the Schmoovie of the week, "The Sure Thing," a 1985 film of teen love -- and lust. Rob Reiner's second directorial outing gets mixed reviews from our hosts. Hear who gave "The Sure Thing" a middling "meh" and who gave it our top mark of "not bad" on this week's The Reel Schmooze. The Reel Schmooze is produced by the PodWaves and can be found wherever you get your podcasts. IMAGE: US actor Jack Black attends the premiere of Columbia Pictures' "Anaconda" at The United Theater on Broadway in Los Angeles, California, on December 13, 2025. (Robyn Beck / AFP)See omnystudio.com/listener for privacy information.

ColorScapes, explores how seasonal color and light affect our emotions, learning, and overall well-being. From spring's hopeful pastels to winter's introspective tones, Lee offers an accessible, science-meets-art perspective on how color perception influences mood, focus, and creativity. It's a perfect conversation for audiences eager to understand the educational and emotional power of art in everyday life.With over four decades of experience connecting audiences to art and culture through her work at the Smithsonian Institution, Library of Congress, and collaborations with DreamWorks, Showtime, and Columbia Pictures, Lee now turns her talents to teaching through poetry. Her multi-cultural upbringing in France and India—coupled with her lifelong dedication to education and the arts—makes her an engaging voice for discussions about creative literacy, emotional intelligence, and cross-cultural learning.Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-like-it-s-live--4113802/support.

TVC 718.5: Stefanie Powers talks to Ed about why her experience as a contract player at Columbia Pictures at the start of her career was like "a finishing school for actors"; working with Ava Gardner on Maggie (CBS, 1986), a pilot for a series that marked Gardner's final screen appearance (the pilot, however, never aired); and why James Garner ranks alongside Robert Wagner as among Stefanie's favorite co-stars. (Stefanie starred opposite Garner in "The Red Easy Red Dog," a second-season episode of The Rockford Files.) Stefanie Powers will reunite with McLintock! co-star Patrick Wayne for the first time in sixty years for a one-performance-only benefit production of A.R. Gurney's Love Letters that will take place on Sunday, Jan. 11 on the Debbie Reynolds Main Stage at the historic El Portal Theatre in North Hollywood, CA beginning at 1pm. Proceeds will support the efforts of the William Holden Wildlife Foundation. For tickets and more information, call (818) 508-4200 or go to ElPortalTheatre.com. Stefanie Powers is also featured in Vision for the Future: Capturing Inspiring Stories from Leaders and Changemakers, a recently released anthology eBook that profiles twenty-five visionaries who not only are making a significant impact in their respective fields, but are dedicated to making the world a better place through hope, action, and lasting change. Vision for the Future recognizes Stefanie for her work with The William Holden Wildlife Foundation. Vision for the Future is available for free at visionforthefuture.ai.

*Note* This episode was originally released Dec 4th 2020 We begin the month of December by covering the films of director Brian DePalma.  He has been compared to Alfred Hitchcock  but many of his films are a lot more mature in content.  Not only does he direct thrillers, but he has worked in horror, action, dramas, and musicals too.On this episode, Ryan Luis Rodriguez of One Track Mind (formally of Coolness Chronicles and present member of Reels of Justice) returns to discuss  DePalma's homage to Hitchcock's Rear Window and Vertigo with Body Double.  Listen to him and The Vern go over moments of this intricate thriller.Ad SpotsInsession FilmHelp Suppourt our Podcast & join our Patreon pagehttps://www.patreon.com/cinemarecallpodThis episode does contain clips from the movie Body Double released by Columbia Pictures and Music of Frankie Goes to Hollywood which appeared on the Soundtrack. I'm only using a small portion of he material so please don't sue. Thank you

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Gran Turismo, es una película biográfica estadounidense de drama deportivo de 2023 basada en la serie de videojuegos de simulación de carreras desarrollada por Polyphony Digital. Producida por Columbia Pictures, PlayStation Productions y 2.0 Entertainment, la película fue dirigida por Neill Blomkamp a partir de un guion de Jason Hall y Zach Baylin.   Plot: Basada en la increíble e inspiradora historia real de un equipo de perdedores: un jugador de clase trabajadora , un ex piloto de carreras fracasado y un ejecutivo de deportes de motor idealista, que lo arriesgan todo para enfrentarse al deporte más elitista del mundo de carreras.   Espero que lo disfruten ;)   Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl  

Men at Work (1990) was chosen by co-host Chris, and it's a perfect fit for his love of oddball comedies from the VHS era. Written and directed by Emilio Estevez, the film was a true family affair — with Estevez not only helming the project but also starring alongside his real-life brother, Charlie Sheen. Coming off the back of their late-'80s fame from Young Guns and Wall Street, the pair teamed up for a buddy comedy that blended slapstick humor, blue-collar chaos, and a dash of political satire. Produced by Epic Productions and distributed by Triumph Releasing (a Columbia Pictures subsidiary), Men at Work was Estevez's second outing as a writer-director, following his 1986 drama Wisdom. The project gave him the freedom to craft a film that played directly to the chemistry he shared with his brother — the same mix of bravado and goofiness that made it a cult favorite among fans of early-'90s video store comedies.Filmed primarily around Hermosa Beach and Redondo Beach, California, Men at Work embraced the laid-back coastal vibe of Southern California. The shoot was relatively quick and low-budget by Hollywood standards, with much of the film's tone shaped through improvisation between Estevez and Sheen. The movie's soundtrack captured the spirit of the late '80s and early '90s, featuring a mix of surf rock, funk, and classic rock tracks. While it didn't make waves critically, Men at Work found a second life on VHS and cable television, where its offbeat humor and brotherly banter turned it into a nostalgic favorite. Today, it stands as a snapshot of a more carefree era in comedy filmmaking — a time when movies about two guys, a truck, and a ridiculous situation could carry an entire Friday night rental.If you enjoy the show, we have a Patreon, so become a supporter ⁠⁠⁠here⁠⁠⁠.Referral links also help out the show if you were going to sign up:⁠⁠⁠NordVPN⁠⁠⁠⁠⁠⁠NordPass⁠⁠⁠Trailer Guy Plot SummaryThey're brothers. They're garbage men. And they've just picked up more than they bargained for.Charlie Sheen and Emilio Estevez star in the ultimate blue-collar buddy comedy — where trash day turns into doomsday. Between the laughs, the chases, and the chaos, these two underdogs are about to clean up the streets… one bad guy at a time.Men at Work — crime, comedy, and complete rubbish.Fun FactsMen at Work was originally written as a dark political thriller, but Emilio Estevez reworked it into a comedy after deciding it would work better as a light-hearted buddy film.Estevez reportedly wrote the first draft of the script in the mid-1980s, years before the film was made, while he was still working on The Breakfast Club (1985).The movie's tagline — "Garbage men by day. Detectives by night." — was coined late in production as a tongue-in-cheek nod to 1980s action clichés.Estevez cast real-life surfer and character actor Keith David as Louis Fedders, the paranoid war veteran, after seeing his intense performance in John Carpenter's They Live (1988).The garbage truck used in the movie became something of a collector's item among fans and was later used in several low-budget TV shows filmed in California.Charlie Sheen's character's surfboard was custom-made by a local Hermosa Beach surf shop, and Estevez let Sheen keep it after filming.The film's theme song, “I'm Gonna Use What I Got,” was performed by The Rude Boys, adding to the film's distinctive late-'80s funk-rock vibe.Estevez and Sheen performed many of their own stunts, including the beach chase sequences, to save on the production budget.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠

Giuseppe Castellano talks to illustrator and fine artist, Michael Deas, about his early years as an illustrator; how he created “The Torch Lady” for Columbia Pictures; why he doesn't look back on his long career; and more.To learn more about Michael, visit michaeldeas.com.Artists mentioned in this episode include: Ted Lewin, Betsy Lewin, Herbert Tauss If you find value in this podcast, consider becoming a paid subscriber on Substack, or a supporter on Patreon. On either platform, you will gain access to bonus episodes we call “Extra Credit”—among other perks and benefits. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, and more. | Music for the podcast was created by Oatmello. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

The film writers Robert Rubsam and Corey Atad join the show for a discussion of two apocalyptic nuclear thrillers, Sidney Lumet's Fail-Safe (1964) and Kathryn Bigelow's brand new Netflix production A House of Dynamite.Both Dr. Strangelove and Fail-Safe were released by Columbia Pictures within months of each other in 1964 (as the result of a lawsuit stemming from the respective novels the films were based on). The two films depict an accidental nuclear crisis from the perspective of command-and-control rooms helpless to prevent the impending bombing but Lumet's version is a serious critique of Game Theory from a humanist perspective, with the participation of creatives who had been caught up in the Hollywood Blacklist during the Cold War.Bigelow's modern version of such a tale of nuclear crisis, by contrast, has a lot less to say about the subject. We compare its structural shortcomings to Lumet's stark masterpiece, a film more plugged in to its zeitgeist than this new Netflix production is.Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilterFollow Corey Atad on Twitter and Bluesky and visit coreyatad.comFollow Robert Rubsam on Twitter and Bluesky and visit robertrubsam.comTony Schwartz's “Daisy” commercial for LBJ's 1964 Presidential election campaignTrailer for Fail-Safe (Sidney Lumet, 1964)Promo for the live tv broadcast on CBS of Fail-Safe (Stephen Frears, 2000)Trailer for Henry Fonda for President (Alexander Horwath, 2024)Trailer for A House of Dynamite (Kathryn Bigelow, 2025)

We're partying like it's 1995 as the Dynamic Duo head to the cinema doors and back to enjoy the 30th Anniversary showing of Pearce Brosnan's iconic first outing as Ian Fleming's famous British Super Spy, James Bond, 007!Serving up plenty of nostalgia and fond memories, is it as good as they remember - and does it still hold up today on the big screen and recliner chairs?#GITS

Matthew Bannister onPeter Gurney, the George Medal winning bomb disposal expert who regularly risked his life to defuse explosive devices, including the mortars that were fired at 10 Downing Street by the IRA in 1991.Diane Keaton, the actor best known for her collaboration with Woody Allen in Annie Hall and Manhattan.Peter Hall, the pioneering English winemaker from Sussex who turned his Breaky Bottom grapes into acclaimed sparkling wines.Angela Bond, who saved the much-loved Bush Theatre in West London from closure. The director Josie Rourke and the writer Jack Thorne pay tribute.Producer: Ed Prendeville Assistant Producer: Ribika Moktan Researcher: Jesse Edwards Editor: Glyn TansleyArchive used: BBC News, BBC, 07/02/1991; Newsnight, BBC, 26/10/1981; It's My Story: The Long Walk, BBC Radio 4, 26/03/2012; The Food Programme: A Vintage Year for Homegrown Wine, BBC Radio 4, 22/11/2018; Food and Drink, BBC, 10/08/1982; Annie Hall, MGM, 1977; Cast: Diane Keaton; Director: Woody Allen; Producers: Fred T. Gallo, Robert Greenhut, Jack Rollins, Charles H. Joffe; Screenwriters: Woody Allen, Marshall Brickman; Woman's Hour, BBC Radio 4, 15/11/2011; Front Row, BBC Radio 4, 19/06/2017; Diane Keaton – Seems Like Old Times, Columbia Pictures, 1980

Quand on pense aux symboles de la République française, l'image de Marianne s'impose immédiatement : une figure féminine coiffée du bonnet phrygien, incarnation de la liberté et de la nation. Les États-Unis, eux aussi, ont eu leur équivalent au XIXᵉ siècle : Columbia, une allégorie féminine qui personnifia longtemps l'Amérique avant que l'Oncle Sam ne lui vole la vedette.Le nom « Columbia » dérive de Christophe Colomb, perçu à l'époque comme le découvreur du Nouveau Monde. Dès la fin du XVIIIᵉ siècle, on utilise ce nom pour désigner poétiquement les États-Unis. Dans les discours, la poésie ou les chansons patriotiques, Columbia représente la jeune république américaine, indépendante de la Grande-Bretagne. On la retrouve notamment dans des vers de Philip Freneau ou dans des journaux politiques de la période révolutionnaire.Visuellement, Columbia prend la forme d'une femme noble, souvent drapée à l'antique comme une déesse grecque ou romaine. Comme Marianne, elle incarne à la fois la liberté, la vertu et la force de la nation. On la représente parfois avec une lance, un bouclier frappé de l'aigle américain, ou tenant la bannière étoilée. Elle est à la fois guerrière et protectrice, symbole d'une nation jeune mais ambitieuse.Tout au long du XIXᵉ siècle, Columbia devient omniprésente dans la culture populaire. On la voit sur les affiches de recrutement, les gravures, les caricatures politiques et même dans les salles de classe. Elle incarne l'idéalisme américain, le progrès, mais aussi l'expansion territoriale. Pendant la guerre de Sécession, on l'utilise pour symboliser l'unité retrouvée du pays. Après 1870, elle apparaît régulièrement aux côtés de « Brother Jonathan » (autre personnage symbolisant l'Américain ordinaire) avant que l'Oncle Sam ne s'impose définitivement comme figure nationale.Le cinéma a d'ailleurs prolongé ce mythe : le logo de la société Columbia Pictures, créé dans les années 1920, reprend cette figure féminine, debout, drapée comme une déesse, tenant une torche lumineuse. Preuve que, même si Columbia a perdu sa centralité politique, elle a survécu comme image culturelle durable.Pourquoi a-t-elle été éclipsée ? Au tournant du XXᵉ siècle, l'Oncle Sam, caricature masculine plus directe et plus identifiable, incarne mieux la puissance militaire et industrielle des États-Unis. Columbia, figure allégorique et classique, apparaissait peut-être trop abstraite face à une Amérique en pleine modernisation.En résumé, Columbia fut la Marianne américaine : une femme symbolisant liberté et république, héritière des mythes antiques, utilisée pour unir et inspirer la nation. Même oubliée, elle continue de briller à travers l'iconographie du cinéma et les archives d'une Amérique en quête de symboles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Quand on pense aux symboles de la République française, l'image de Marianne s'impose immédiatement : une figure féminine coiffée du bonnet phrygien, incarnation de la liberté et de la nation. Les États-Unis, eux aussi, ont eu leur équivalent au XIXᵉ siècle : Columbia, une allégorie féminine qui personnifia longtemps l'Amérique avant que l'Oncle Sam ne lui vole la vedette.Le nom « Columbia » dérive de Christophe Colomb, perçu à l'époque comme le découvreur du Nouveau Monde. Dès la fin du XVIIIᵉ siècle, on utilise ce nom pour désigner poétiquement les États-Unis. Dans les discours, la poésie ou les chansons patriotiques, Columbia représente la jeune république américaine, indépendante de la Grande-Bretagne. On la retrouve notamment dans des vers de Philip Freneau ou dans des journaux politiques de la période révolutionnaire.Visuellement, Columbia prend la forme d'une femme noble, souvent drapée à l'antique comme une déesse grecque ou romaine. Comme Marianne, elle incarne à la fois la liberté, la vertu et la force de la nation. On la représente parfois avec une lance, un bouclier frappé de l'aigle américain, ou tenant la bannière étoilée. Elle est à la fois guerrière et protectrice, symbole d'une nation jeune mais ambitieuse.Tout au long du XIXᵉ siècle, Columbia devient omniprésente dans la culture populaire. On la voit sur les affiches de recrutement, les gravures, les caricatures politiques et même dans les salles de classe. Elle incarne l'idéalisme américain, le progrès, mais aussi l'expansion territoriale. Pendant la guerre de Sécession, on l'utilise pour symboliser l'unité retrouvée du pays. Après 1870, elle apparaît régulièrement aux côtés de « Brother Jonathan » (autre personnage symbolisant l'Américain ordinaire) avant que l'Oncle Sam ne s'impose définitivement comme figure nationale.Le cinéma a d'ailleurs prolongé ce mythe : le logo de la société Columbia Pictures, créé dans les années 1920, reprend cette figure féminine, debout, drapée comme une déesse, tenant une torche lumineuse. Preuve que, même si Columbia a perdu sa centralité politique, elle a survécu comme image culturelle durable.Pourquoi a-t-elle été éclipsée ? Au tournant du XXᵉ siècle, l'Oncle Sam, caricature masculine plus directe et plus identifiable, incarne mieux la puissance militaire et industrielle des États-Unis. Columbia, figure allégorique et classique, apparaissait peut-être trop abstraite face à une Amérique en pleine modernisation.En résumé, Columbia fut la Marianne américaine : une femme symbolisant liberté et république, héritière des mythes antiques, utilisée pour unir et inspirer la nation. Même oubliée, elle continue de briller à travers l'iconographie du cinéma et les archives d'une Amérique en quête de symboles. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In 1982, director Steven Spielberg followed up Raiders of the Lost Ark with a family-centered feature about a young boy who meets an alien, based on his own childhood experience of creating an imaginary friend after his parents' divorce. With a budget of just over $10 million, Spielberg and screenwriter Melissa Mathison brought the alien to life with the help of Italian special effects master Carlo Rambaldi, with the music of John Williams hitting all the right notes. Add in some product placement from Reese's Pieces (let's not talk about that Atari video game) and a stellar young cast including Henry Thomas, Robert MacNaughton, and Drew Barrymore, and the flick was a hit. In fact, it surpassed Star Wars to become the highest-grossing film of all time, until Spielberg's own Jurassic Park broke the record in 1993. Much of the film feels iconic now, from William's score to the flying bikes. Critic Roger Ebert, in an essay he wrote in 2002 as a letter to his grandchildren about watching it with them, wrote of that moment: “I remember when I saw the movie at Cannes. Even the audience there, people who had seen thousands of movies, let out a whoop at that moment.” But despite the praise, it's worth remembering that Columbia Pictures put the film in turnaround, and M&Ms passed on the opportunity to feature their candy because they thought the film would scare children. So, over 40 years since its release, is E.T. the Extra-Terrestrial still worth phoning home about? Or is it better left in the back of the childhood closet? For more geeky podcasts visit GonnaGeek.com  You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com    You can write to Rum Daddy directly: rumdaddylegends@gmail.com    You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com    Aug-Heist: The Getaway Theme features beats produced by Anabolic Beatz https://www.anabolicbeats.com | Remixed with lyrics and vocals by Jonolobster   Normal Show Music:Danger Storm by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 https://creativecommons.org/licenses/by/4.0/

The Adam Sandler Sports deep dive continues (for some reason) with his remake of the football classic: The Longest Yard! Disgraced pro football quarterback Paul Crewe (Adam Sandler) lands in jail, where manipulative Warden Hazen (James Cromwell) recruits him to advise the institution's team. This turns into a lead role quarterbacking a crew of inmates in a game against a team of prison guards. Aided by incarcerated ex-NFL coach Nate Scarborough (Burt Reynolds), Crewe and his team must overcome not only the bloodthirstiness of the opposition, but also the corrupt officials trying to fix the game against them. Release date: May 27, 2005 (USA) Director: Peter Segal Budget: 90 million USD, 82 million USD Adapted from: The Longest Yard MPAA rating: PG-13 Distributed by: Paramount Pictures, Columbia Pictures, Sony Pictures Releasing International

Superman is a 1948 15-part Columbia Pictures film serial based on the comic book character Superman. It stars an uncredited Kirk Alyn (billed on-screen only by his character's name, Superman; but credited as Kirk Alyn on the promotional posters) and Noel Neill as Lois Lane. It was the first live-action appearance of Superman on film.[1] The serial was directed by Thomas Carr (who later directed many early episodes of the Adventures of Superman television series[1]) and Spencer Gordon Bennet, produced by Sam Katzman, and shot in and around Los Angeles, California. It was originally screened at movie matinées, and after the first three scene-setting chapters, every episode ends in a cliffhanger. The Superman-in-flight scenes are animations, in part due to the small production budget.

Ep. 340: Ehsan Khoshbakht on Great Expectations, the British retrospective of Locarno 2025 Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I'm reporting from the Locarno film festival, where the annual retrospective has once again been quite popular. So I couldn't pass up the opportunity to speak with the retrospective's programmer, Ehsan Khoshbakht, who also co-directs Il Cinema Ritrovato in Bologna and also curated Locarno's 2024 tribute to Columbia Pictures. Khoshbakht explains the basis of the series, providing fascinating insights into what fueled British postwar cinema, crosscurrents with other cinemas, and the thought processes behind film programming. Among the titles discussed (adding new ones to those already discussed on the podcast): Locarno's 1952 Golden Leopard winner Hunted (directed by Charles Crichton), It Always Rains on Sunday (Robert Hamer), The Woman in Question (Anthony Asquith), as well as a look at the director Jack Lee (Turn the Key Softly). Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

We present our review of the 28 Days Later Film Series!The 28 Days Later series consists of post-apocalyptic horror films, based on a concept conceived by Alex Garland. The series includes three released films, with two sequels in various stages of development. The franchise depicts the outbreak of the Rage Virus, a contagious disease that induces homicidal rage in those infected. Following the virus's accidental release from a laboratory in the United Kingdom, the resulting epidemic causes widespread societal collapse. The films focus on the impact of the outbreak, and the efforts of survivors to endure both the infected and the consequences of a rapidly disintegrating society.The first film, 28 Days Later, was well received by critics, and was a box office success. It has been called a horror classic and has a cult following. It has also been credited with redefining, as well as influencing, and expanding the popularity of the zombie horror genre. The 2007 sequel, 28 Weeks Later, was a financial success but had an average critical reception, with a 73% from critics and a much lower 66% audience rating, according to review aggregator website Rotten Tomatoes.The series is set to continue with a trilogy of sequels in various stages of development, all distributed by Sony Pictures Releasing through its Columbia Pictures label. The first sequel, 28 Years Later, was released in 2025, with a follow-up, 28 Years Later: The Bone Temple, slated for release on 16 January 2026. A third film was announced.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

In the late '80s, John Candy's hit a rough patch with a string of underwhelming films—Hot to Trot, Speed Zone, and Who's Harry Crumb. But a creative reunion with John Hughes soon put him back on track, leading to some of the most memorable roles of his career. In this episode, we chart Candy's quiet resurgence and surprising pivot into sports ownership, as he becomes a co-owner of the Toronto Argonauts and proves there's always more than one way to steal the show.John Candy: The Lou Gehrig of Comedy is a series that honours the timeless humour and heartfelt performances of John Candy, star of hits like Splash, Planes, Trains and Automobiles, and Home Alone.Follow us on our socials: Instagram, Bluesky, LinkedIn, YouTube & SubstackWritten & Hosted by Ryan BarnettProduced by Ryan Barnett & Sonia GemmitiRecorded by Tyler RaumanAdditional voices by Matthew Barnett & Sean QuinlanA Knockabout Media ProductionAdditional audio material:Later with Bob Costas, Late Night with David Letterman, Tonight Show with Johnny Carson, Columbia Pictures, CBC. CityTV*This program and all relevant content is for educational purposes only and to the best of our knowledge is being used under Fair Dealing/Fair Use Act guidelines and within Canadian and United States standards of fair dealing/fair use* Hosted on Acast. See acast.com/privacy for more information.

In this episode, John grinds out a handful of movies before becoming #1 on the call sheet, but misses out on Ghostbusters. He and Rose welcome a new addition to their growing family. And then John makes a true all-time classic in Planes, Trains and Automobiles, beginning a close collaborative partnership with John Hughes.John Candy: The Lou Gehrig of Comedy is a series that honours the timeless humour and heartfelt performances of John Candy, star of hits like Splash, Planes, Trains and Automobiles, and Home Alone.Follow us on our socials: Instagram, Bluesky, LinkedIn, YouTube & SubstackWritten & Hosted by Ryan BarnettProduced by Ryan Barnett & Sonia GemmitiRecorded by Tyler RaumanAdditional voices by Matthew Barnett & Sean QuinlanA Knockabout Media ProductionAdditional audio material:The Bobbie Wygant Archive, Later with Bob Costas, Late Night with David Letterman, Tonight Show with Johnny Carson, Columbia Pictures, Sesame Workshop, TriStar Pictures, Paramount Pictures, AppleTV+, Tribune Media, CBC*This program and all relevant content is for educational purposes only and to the best of our knowledge is being used under Fair Dealing/Fair Use Act guidelines and within Canadian and United States standards of fair dealing/fair use* Hosted on Acast. See acast.com/privacy for more information.

CONTENT WARNING: Discussion of gaslighting, spousal abuse, spousal murder, murder, misogyny. We're getting a little spooky this week with a slow-burn cult horror classic that dares to make its female characters complex and unique and its male characters thoroughly one-dimensional. Somehow it's the men that are utterly unbelievable for a change. That said, there's a pretty great movie to be found in among the wreckage, a fact that filmmakers 30 years later were utterly and completely unable to reconcile. People in 2004 thought that making a dark, subtle allegory for the horrors of the patriarchy into live-action Looney Tunes was a good idea, and then made it. And since we're completionists, we subjected ourselves to both. Join us as we enjoy 1975's and despair 2004's The Stepford Wives on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from the end credits to the film The Stepford Wives, written and composed by Michael Small. Copyright 1975 Palomar Pictures International, Columbia Pictures. Excerpt taken from the opening titles to the film The Stepford Wives, written and composed by David Arnold. Copyright 2004 Paramount Pictures Corporation and Dreamworks LLC. All Rights Reserved.

Hola Gerardo aquí en otro episodio de Simplemente Yo; La selección de esta semana es Lawrence of Arabia, es una película épica biográfica de aventuras dramáticas de 1962 dirigida por David Lean y producida por Sam Spiegel a través de su compañía británica Horizon Pictures y distribuida por Columbia Pictures. Se basó en la vida de T. E. Lawrence y su libro de 1926, Seven Pillars of Wisdom.   El podcast analiza la compleja historia de producción de la película, desde los diversos intentos de llevar la historia de Lawrence a la gran pantalla hasta los desafíos que se enfrentaron durante el rodaje, como problemas logísticos y la reescritura del guion. También se destaca la banda sonora de Maurice Jarre, lo que subraya su estatus icónico en la historia del cine y subraya la combinación de hechos históricos e interpretación artística que ofrece la película.   Plot: La historia de T. E. Lawrence, el oficial inglés que unió y dirigió con éxito a las tribus árabes durante la Primera Guerra Mundial para luchar contra los turcos.   Espero que lo disfruten ;)   Información adicional del podcast: Enlace del website official de Filmic Notion Podcast: https://filmicnotionpod.com/ Enlace a nuestra página de Letterboxd: https://boxd.it/446nl  

The Filmlosophers are steeling themselves for a gripping discussion as they dive into 28 Years Later, the latest entry in the groundbreaking franchise that redefined zombie horror almost three decades ago. Join Hosts Eddie and Spencer, along with Intern Sarah, as they unravel the unique vision that Director Danny Boyle and writer Alex Garland unleash in this new chapter of their terrifying universe. From the compelling performances on screen to the incredible efforts behind the camera, the crew will explore how 28 Years Later delivers not just a chilling cinematic experience, but also a powerful socio-economic metaphor. They'll also dissect how this film, much like its predecessor, serves as a masterclass, proving that true cinematic greatness can emerge from anywhere. But the brain-bending doesn't stop there! In a special segment, Host Eddie unleashes a "Conspiracy Theory Showdown," pitching two wild theories to Spencer and Sarah to see which one holds more weight and sparks the most debate. Join us for an intense look at a pivotal film, a deep dive into its real-world implications, and a thrilling battle of wits in the realm of cinematic conspiracies! So, pull up a chair, grab your popcorn, and tune in to this week's fast-zombie-chase of an episode of The Filmlosophers!

CONTENT WARNING: Discussion of gambling. One would think that with the steely blue eyes of Steve McQueen and the highest-stakes poker game ever concocted, we'd be cooking with fire with this next film. Instead, we get one of the most boring 100-minute movies committed to celluloid. Nearly an hour of this movie is preamble and exposition and when we finally get to the poker game we might as well have just had the Kid lose in the first few hands. There are many ways to approach a good poker movie, and this movie chooses literally none of them. Join us as we yawn through 1965's The Cincinnati Kid on Have a Good Movie! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on BlueSky! If you like the podcast, please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “The Cincinnati Kid (Instrumental)” from the soundtrack to the film The Cincinnati Kid, written and composed by Lalo Schifrin. Copyright 1965 Warner Bros. Entertainment Inc. All Rights Reserved. Excerpt taken from the end credits to the film The Stepford Wives, written and composed by Michael Small. Copyright 1975 Palomar Pictures International, Columbia Pictures.

Ep. 312: R. Emmet Sweeney on Tomonari Nishikawa, Minecraft, Long Gone, Crac!, plus Sinners and The Sniper Welcome to The Last Thing I Saw, with your host, Nicolas Rapold. This week I'm pleased to welcome back a friend of the podcast, R. Emmet Sweeney, who produces physical media for Kino Lorber and writes about movies as well as music. He runs a thriving substack newsletter called Old New, where he recently assembled remembrances of the filmmaker Tomonari Nishikawa, who recently passed away. We talked a bit about Nishikawa's movies, as well as baseball picture Long Gone, Minecraft, the Canadian animated short Crac! (a selection from Light Industry's recent Children's Cinema), with a few words from me on Ryan Coogler's Sinners and The Sniper, an Edward Dmytryk joint featured in the Columbia Pictures series at the Museum of Modern Art. Please support the production of this podcast by signing up at: rapold.substack.com Photo by Steve Snodgrass

Everyone is together talking Dennis Rodman, JCVD, and movie trivia! In person podcast!! A CIA agent is interned for failing a mission to kill an international terrorist. Escaping from his island exile, he teams up with a flamboyant arms dealer and sets out to find the terrorist and rescue the agent's wife and son. Release date: April 4, 1997 (USA) Director: Tsui Hark Budget: 30 million USD Box office: $48.1 million Distributed by: Columbia Pictures, Sony Pictures Releasing Music by: Gary Chang

Welcome to Multiverse News, Your source for Information about all your favorite fictional universesLast week, during an interview with Brazilian pop culture and media YouTube outlet, Omelete, to promote their new film, The Electric State, Avengers: Doomsday and Secret Wars directors, Joe and Anthony Russo offered insights on how the upcoming pair Avengers of films differ from their previous multi-phase, saga-concluders: Infinity War and Endgame; describing the duology as a “new beginning.” Joe Russo went on to reiterate the real motivation for the creative duo returning to the franchise after leaving on an all-time high more than 5 years ago. In a double dose of DC casting news, sitcom vet Jason Ritter has joined the cast of Lanterns in a recurring role as Billy Macon, a ‘good-looking charmer who does his father's bidding, clings to his small-town ego and has everything to lose.' Elsewhere, The Penguin actor, Colin Farrell has entered negotiations to replace Daniel Craig as the titular sergeant of Luca Guadagnino's Word War II film, Sgt. Rock.Despite the release of several new genre films, last weekend's domestic box office was notably slow – at an approximate $54 million total, sluggish enough to earn the title of 2025's worst box office thus far.  Paramount's R-rated action comedy, Novocaine, starring Jack Quaid, took the top spot with $8.7 million, slightly below expectations. Meanwhile, Mickey 17 suffered a 60% drop in its second weekend, barely managing to stave off Steven Soderbergh's spy thriller, Black Bag, with hauls of $7.51 and $7.5 million, respectively.After more than a year of speculation, Apple TV+ has officially ordered a fourth season of its Emmy-winning comedy Ted Lasso. The pickup comes after co-creator and star Jason Sudeikis closed a deal to reprise his role as the titular character. Disney has released the first official trailer for body swap comedy reunion sequel Freakier Friday starring Jamie Lee Curtis and Lindsay Lohan. The film hits theaters on August 8th, 22 years after the original. Conan O'Brien, who hosted the 97th Oscars telecast on March 2, has agreed to return and host the 98th Oscars telecast on March 15, 2026, the Academy of Motion Picture Arts and Sciences announced Monday. CBS has also announced that comedian Nikki Glaser will return in 2026 to host the 83rd annual Golden Globes.More than a year after Warner Bros. shelved Coyote vs. Acme for tax incentives, independent distributor Ketchup Entertainment is reportedly nearing a deal to acquire the film for around $50 million. Ketchup recently handled the theatrical release of The Day the Earth Blew Up: A Looney Tunes Movie, which has earned $3.9 million since its March 14 debut.Columbia Pictures is plotting a new Starship Troopers movie, tasking District 9 filmmaker Neill Blomkamp to write and direct an adaptation of the classic sci-fi novel story by Robert A. Heinlein. The Hollywood Reporter has learned “zero progress” has been made on Saw XI since writing partners Patrick Melton and Marcus Dunstan turned in a draft back in spring of 2024. Speaking on the project, Melton said “The reason it's held up is just, there's inter-squabbling between producers and Lionsgate. They just can't quite get on the same page.” A24 has released the first trailer for romantic feature film Materialists starring Pedro Pascal, Chris Evans, and Dakota Johnson. The film hits theaters on June 13th. Netflix has released the first trailer for Adam Sandler-led sequel Happy Gilmore 2. The film begins streaming on July 25th. Darren Aronofsky is in talks to direct Netflix's Cujo, a remake of Stephen King's classic horror novel about a vicious St. Bernard.The project is still in early development, and sources say Aronofsky has yet to hold creative discussions with Netflix. If the deal goes through, this would be his first feature film for a streaming platform.

David and Patrick discuss what's happening in the world of TV, then dive into the seventh episode of Skeleton Crew and the season premiere of The Pitt.The Franchise was cancelled! Is season 1 of the show still worth watching? Are we hopeful for a Shogun season 2? Are we excited about the possibility of a Squid Game cinematic universe? What did we think of the new Max original series The Pitt and how does it compare to ER? Listen to hear us discuss all these questions and more!Homework for next week:Skeleton Crew Ep 8 (Disney+)Bonus Ep: Severance Season 1 finaleShownotes:04:30 - TV NewsApple TV+ Brings ‘Severance' Season One to Roku Channel in Subscriber PushSuperhero Movie Satire Series ‘The Franchise' Canceled by HBO‘The Last of Us' Season 2 to Debut in April; Columbia Pictures and Sony PlayStation Developing ‘Horizon Zero Dawn' Movie (Helldivers 2 movie)‘Shogun' Season 2 Update: Producers Reveal That Writers' Room Ends In Six Weeks‘Squid Game' Spinoffs? Creator of Netflix Hit Has Multiple Ideas36:30 - Skeleton CrewEp 7 - We're Gonna Be In So Much Trouble57:00 - The PittEp 1 - 7:00 A.M.Ep 2 - 8:00 A.M.Links:Listen to Patrick's videogame podcast, Remap RadioSubscribe to Patrick's newsletter, CrossplaySubscribe to this podcast on YouTubeFollow this podcast on InstagramFollow this podcast on TiktokSubscribe to David's free newsletter, Decoding EverythingFollow David on Instagram Hosted on Acast. See acast.com/privacy for more information.