Podcasts about day lewis

Today my co-host is Shae, half of the History Unhinged:  Rainy Days Rabbit Holes podcast.  One of the best podcasts available.  Check out their website  http://www.rainydayrabbitholes.com/  They have really cool Merch also.  Rainy Day Rabbit Holes PodcastYour deep dive into Pacific Northwest history...with a laugh along the way!Visit our website! Rainy Day Rabbit HolesListen on AppleListen on SpotifyFollow us on InstagramShae an I talked about -World Wish Day. National Zipper day.  Entertainment from 1986.  Saigon evacuated as it fell, Rodney King LA riots started, Desmond Doss saved 75 injured soldiers, Dachau concentration camp liberated.  Todays birhdays - Duke Ellington, Carl Gardner, Willie Nelson, Tommy James, Jerry Seinfeld, Daniel, Day-Lewis, Eve Plumb, Michelle Pfeiffer, Carnie Wilson, Uma Thurman.  Alfred Hitchcock died.Intro - God did good - Dianna Corcoran  https://www.diannacorcoran.com/ Zipper - Jason DeruloKiss - Prince and the RevolutionOnce in a blue moon - Earl Thomas ConleyWhite Chrstmas - Bing CrosbyBirthdays - In da club - 50 Cent     https://www.50cent.comTake the A Train - Duke EllingtonYakety Yak - The CoastersOn the road again - Willie NelsonMony Mony - Tom James & the ShondellsBrady Bunch TV themeCool Rider - Michelle PfeifferHold on - Wilson PhillipsExit - Cigerettes and Bad Decisions - Timothy Craig    https://www.timothycraig.com/cooolmedia.com

“the Christmas Tree is a tree of fable,/A phoenix in evergreen”Cecil Day Lewis tackles the leave-taking of Christmas and the emotional upheaval in can work in the hearts of kids from 1 to 92. Happy reading (and don't take down that tree yet!)Lewis, (born April 27, 1904, Ballintubbert, County Leix, Ire.—died May 22, 1972, Hadley Wood, Hertfordshire, Eng.) was one of the leading British poets of the 1930s; he then turned from poetry of left-wing political statement to an individual lyricism expressed in more traditional forms.The son of a clergyman, Day-Lewis was educated at the University of Oxford and taught school until 1935. His Transitional Poem (1929) had already attracted attention, and in the 1930s he was closely associated with W.H. Auden (whose style influenced his own) and other poets who sought a left-wing political solution to the ills of the day. Typical of his views at that time is the verse sequence The Magnetic Mountain (1933) and the critical study A Hope for Poetry(1934).Day-Lewis was Clark lecturer at the University of Cambridge in 1946; his lectures there were published as The Poetic Image (1947). In 1952 he published his verse translation of Virgil's Aeneid, which was commissioned by the BBC. He also translated Virgil's Georgics (1940) and Eclogues (1963). He was professor of poetry at Oxford from 1951 to 1956. The Buried Day (1960), his autobiography, discusses his acceptance and later rejection of communism. Collected Poemsappeared in 1954. Later volumes of verse include The Room and Other Poems (1965) and The Whispering Roots (1970). The Complete Poems of C. Day-Lewis was published in 1992.At his death he was poet laureate, having succeeded John Masefield in 1968. Under the pseudonym of Nicholas Blake he also wrote detective novels, including Minute for Murder (1948) and Whisper in the Gloom (1954).-bio via Britannica Get full access to The Daily Poem Podcast at dailypoempod.substack.com/subscribe

It's time for the Comic Talk Headlines with Generally Nerdy!Slipknot settlesOasis vows changeNasteratu Risesand then there's the rumor millAnd so much more...Plus, don't forget to subscribe for more fresh content. MusicFollow-ups/CorrectionsSlipknot V Joey - Sept 17 saw the attorneys for the Jordison side of the suit file a notice of unconditional settlement with LA County superior court. The terms have not been released. This stems from the ongoing lawsuit filed by the Jordison estate that claimed Slipknot had withheld belongings of Jordison after officially buying out his ownership claim of the band, and dissolving their business ties, previous to the drummers passing in 2021.https://loudwire.com/joey-jordison-estate-settles-lawsuit-slipknot-2024/ New Music/VideoMarilyn Manson - Sacrilegious https://youtu.be/2q_pSTNX5ro another new track from the newly announced “One Assassination Under God” record. This is really starting to sound like old school manson again. I really dig it.Tim Pool - Coming Home https://youtu.be/B-3HGkQbiq4?si=7PTmb9w-EqZOIuCA a Rooster for millennials. Featuring Phil Labonte on guitar? But why? Tim's voice is so uncertain.Asinhell - Impii Hora https://youtu.be/6m31GJmsdbg Michael Poulson's (Volbeat) OTHER band put out a new single. I really dig their brand of death metal. Just good all over i think. The riffs are chunky and fast, the vocals are rough, the drums are SOLID! And that BASS TONE!Die Antwoord - Pokemon https://youtu.be/nZ0ypBI_ppo The more I hear from this new record they are more EDM and less… whatever they were. Not bad though, just different than you might be expecting.Caliban - Echoes https://youtu.be/IE-gVWWx-mo Haven't heard from these guys in a while. This is about what I expected.The Cure - Alone https://youtu.be/sx9SVAtMkJM 3 minute intro into exactly what you want from a new Cure song.Lady Gaga - Joker https://youtu.be/t-pJst1ASuY Gaga is talented. But this is over indulgent. Harlequin album a companion to the new Joker movie.Tours/FestivalsOasis - NA 2025 tour dates announced with Cage the Elephant. Aug 24, 28, 31 and Sept 6, 12. The band has said they would NOT be using Dynamic ticket pricing.Milwaukee Metalfest - Down, Dillinger Escape Plan, Exodus, Speed, Nekrogoblikon, all on the bill for 2025. May 18-18.https://therave.com/metalfest Kerry King - Support from Municipal Waste and Alien Weaponry set to launch in San Francisco on January 15, 2025, and wrap at House of Blues in Las Vegas on February 22. Presale open now.https://blabbermouth.net/news/kerry-king-announces-first-ever-solo-headlining-tour-with-municipal-waste-and-alien-weaponry Reg ‘ol NewsShell Shock Controversy - Evergreen Terrace, that pulled out of a festival because Kyle Rittenhouse was appearing. The festival, Shell Shock, is a charity event that benefits the C.A.T. II Foundation, which is run by First Responder's Coffee and Cigars. Rittenhouse's appearance at the festival was controversial because he fatally shot two people and wounded a third during protests in Kenosha, Wisconsin [S3]. He was acquitted of murder in 2021. Evergreen Terrace said that they would not align with an event promoting a “perceived murderer” like Rittenhouse https://loudwire.com/evergreen-terrace-festival-kyle-rittenhouse/ Nita Strauss - Working on new upcoming solo record, has voiced a desire to work with none other than Alex Terrible. Says that since they are both on the same label that getting the guest vocal should be “easy-easy.”https://blabbermouth.net/news/nita-strauss-wants-to-collaborate-with-slaughter-to-prevails-alex-terrible-on-her-upcoming-solo-album Pudding Rappers - Just was turned onto this data based website. Their piece from Jan 2019 about the vocabularies of famous rappers is really crazy.https://pudding.cool/projects/vocabulary/ Vocal Study - Elizabeth from the Charismatic Voice has started a new study using more than just Will Ramos. This time it will be a PROPER study of harsh vocals using multiple harsh vocalists. https://www.kickstarter.com/projects/tcvresearch/harsh-vocal-research-with-the-charismatic-voice SuggestsMushroomhead - XXa dark industrial metal compilation that will chill you to the bone. Released in 2001, this album features haunting tracks like "Before I Die" and "Solitaire/Unraveling," blending aggressive riffs with atmospheric soundscapes. With its themes of inner turmoil and societal conflict, XX perfectly captures the spirit of the season. If you crave heavy music that evokes dread and catharsis, let the eerie vibes of XX transport you into a captivating, masked world this Halloween!Gaming/TechFollow-ups/CorrectionsSilent Hill: Townfall - With the Annapurna issues casting doubt on the company's future, they have made it known via their X account that this will NOT affect the future of the game. Konami and No Code will be there to catch whatever falls. Still no info on WHAT the game is specifically about. https://x.com/A_i/status/1840910801332310489 TrailersMario & Luigi: Brothership - https://youtu.be/tffEKtODS4g release on Nov 7.Reg ‘ol NewsDino Crisis - FINALLY coming to the current generation. “At some point before the end of the year” according to an announcement from Playstation, as confirmed by Capcom.https://comicbook.com/gaming/news/playstation-ps1-games-psx-ps5-ps4-dino-crisis/ PS5 ads - Welcome to the fold Sony fans. Playstation now has ads in the background on the home screen on PS5.SuggestsComic Books/BooksReg ‘ol NewsSuper Hero Trademark - The U.S. Trademark Office tribunal canceled the trademark after a request by S.J. Richold, the creator of the Super Babies comic book series. The trademark formerly was owned jointly by Marvel and DC. This could be MAJOR for independent comic houses.https://www.firstcomicsnews.com/marvel-and-dc-lose-trademark-for-super-hero/ SuggestsBatman: The Long Halloween -  dark, suspenseful tale that blends crime noir with Gotham's eerie underworld. As a mysterious killer named Holiday strikes on major holidays, Batman races to uncover their identity while navigating a deadly web of mobsters and emerging supervillains. With gripping twists and Tim Sale's moody, atmospheric artwork, this is a must-read for fans of detective stories and Gotham's darker side. Perfect for the spooky season, The Long Halloween will keep you hooked from the first shadowy page to the last.TV ShowsFollow-ups/CorrectionsChucky - Series canceled at SyFy/USA after season 3.TrailersLast of Us - Season 2 trailer https://youtu.be/BOsAJ7oe2QE Katherine O'Hara! 2025Secret Level - Unreal Tournament Teaser https://youtu.be/0T28j36azQA?si=ekFFu1k2g2mLn0JE That is definitely more than I knew about the lore previously.Reg ‘ol NewsThe Simpsons - DIDN'T END! For those who tuned in late, and/or only watch a few moments of Sunday's episode it was NOT in fact the end of the longest running series on TV. It was season 36's opening episode.https://variety.com/2024/tv/news/the-simpsons-series-finale-last-episode-season-36-premiere-1236159517/ Hysteria - New series on Peacock starring Bruce effing Campbell. Focused on a high school metal band. Also to be aired on SYFY and USA.https://cosmicbook.news/bruce-campbell-hysteria-trailer Robocop - New series to be produced by James Wan for MGM Studios. Peter Ocko to be showrunner.https://deadline.com/2024/09/chucky-canceled-syfy-usa-no-season-4-don-mancini-reaction-1236102192/ Max X U-Next - One of Japan's biggest anime streamers just struck a deal with Max for American distribution. https://www.hollywoodreporter.com/news/general-news/wbd-max-rollout-australia-sea-asian-markets-1236011401/ Vox Machina - Seasons 1 and 2 are now free on YouTube as we get ready for season 3 this fall. https://www.youtube.com/@PrimeVideo SuggestsThe Penguin - If you aren't watching this you are missing out. STREAMING ON MAXMoviesFollow-ups/CorrectionsHellboy: The Crooked Man - No theatrical release? Supposed to release on Sept 27. Apparently released in the UK but straight to home video in the US. Oct 8th to be specific.https://comicbook.com/movies/news/hellboy-the-crooked-man-us-release-date-revealed-vod/ Winnie the Pooh: Blood and Honey 2 - Available on Peacock as of Oct 1.TrailersNosferatu - https://youtu.be/nulvWqYUM8k Christmas Day… YES!!!Ballerina - https://youtu.be/hID0CkzcSkk the John Wick spinoff finally has a trailer. Ana De ArmasReg ‘ol NewsKris Kristofferson - Passed away at 88.Maggie Smith - The Harry Potter actress passed away at 89. (professor McGonagall)Daniel Day-Lewis - The enigmatic actor has come out of his retirement to be in his son's directorial debut “Anemone.” Day-Lewis also co-wrote the movie with his son, Ronan.https://variety.com/2024/film/news/daniel-day-lewis-ends-retirement-acting-new-film-1236161489/SuggestsTrick r Treat - This underrated gem masterfully intertwines multiple chilling stories, each revolving around the dark and twisted traditions of the holiday. It strikes a balance between creepy and fun, with a blend of suspense, eerie atmosphere, and dark humor, all while capturing the nostalgic spirit of Halloween night. From vengeful spirits to the mysterious and iconic Sam, the film delivers clever twists and unsettling thrills without relying on cheap jump scares. It's the ultimate celebration of Halloween's macabre magic—perfect for anyone craving a fun yet frightful watch.STREAMING ON MAXRumor MillConfirmations/RefutationsCONFIRM: Green Lantern - Kyle Chandler IS in fact playing Hal Jordan.New RumorsBane V Deathstroke - An unexpected movie is reportedly in development under James Gunn's DC Studios, though the DCU inclusion is not clear.. Said to be in development from Matthew Orton (Moon Knight [w] and Captain America: Brave New World [w]). Maybe we will finally get Bautista as Bane after all.Blade - Jeymes Samuel NOT Jordan Peele is now rumored to be directing. And Feige has approved a script from Eric Pearson.Green Lantern - Aaron Pierre and Stephen James new rumors for John Stewart. Pierre in Rebel Ridge, the voice of the young Mufasa in the new movie, and Dev-em in the Krypton series. James has no real nerdy movie cred, mostly just political things.Superman - James Gunn's new movie claims that Alan Tudyk has a secret role. Could he be voicing Brainiac? Has already been cast in Creature Commandos as the voice of Dr Phosphorus.Spider-Man 4 - New female lead? Zendaya out? To be noted, the same “leak” claims that they are looking for a new “male lead” for opposite Tom Holland.Mandalorian & Grogu - The final chapter in the “Mando-verse.” Though the future is not so bleak for both characters, as they are said to still be involved in future projects.Final Fantasy - XVI now being rumored for an XBox release in 2025. Not unfounded with the pixel remasters having recently been released on the platform.Secret Wars - Quicksilver, as played by Evan Peters, said to be in the movie.~ALSO~Recasting rumors are FINALLY coming in about Iron Man, Steve Rogers Captain America, and Black Widow. The movie will function as a soft reboot, where recasting will happen for future movies, while Thor, Dr Strange, etc. will all remain as is.Agatha - POSSIBLE SPOILERS! Aubrey Plaza is rumored to be ACTUALLY Lady Death. PLUS Billy is supposedly confirmed as being Wiccan.Apocalypse - The Rock supposedly cast as Apocalypse in the MCU.Masters of the Universe - Jared Leto is the rumored top pick for Skeletor in the reboot. Would be along side Alison Brie's Evil-lyn.You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

It's time for the Comic Talk Headlines with Generally Nerdy!Slipknot settlesOasis vows changeNasteratu Risesand then there's the rumor millAnd so much more...Plus, don't forget to subscribe for more fresh content. MusicFollow-ups/CorrectionsSlipknot V Joey - Sept 17 saw the attorneys for the Jordison side of the suit file a notice of unconditional settlement with LA County superior court. The terms have not been released. This stems from the ongoing lawsuit filed by the Jordison estate that claimed Slipknot had withheld belongings of Jordison after officially buying out his ownership claim of the band, and dissolving their business ties, previous to the drummers passing in 2021.https://loudwire.com/joey-jordison-estate-settles-lawsuit-slipknot-2024/ New Music/VideoMarilyn Manson - Sacrilegious https://youtu.be/2q_pSTNX5ro another new track from the newly announced “One Assassination Under God” record. This is really starting to sound like old school manson again. I really dig it.Tim Pool - Coming Home https://youtu.be/B-3HGkQbiq4?si=7PTmb9w-EqZOIuCA a Rooster for millennials. Featuring Phil Labonte on guitar? But why? Tim's voice is so uncertain.Asinhell - Impii Hora https://youtu.be/6m31GJmsdbg Michael Poulson's (Volbeat) OTHER band put out a new single. I really dig their brand of death metal. Just good all over i think. The riffs are chunky and fast, the vocals are rough, the drums are SOLID! And that BASS TONE!Die Antwoord - Pokemon https://youtu.be/nZ0ypBI_ppo The more I hear from this new record they are more EDM and less… whatever they were. Not bad though, just different than you might be expecting.Caliban - Echoes https://youtu.be/IE-gVWWx-mo Haven't heard from these guys in a while. This is about what I expected.The Cure - Alone https://youtu.be/sx9SVAtMkJM 3 minute intro into exactly what you want from a new Cure song.Lady Gaga - Joker https://youtu.be/t-pJst1ASuY Gaga is talented. But this is over indulgent. Harlequin album a companion to the new Joker movie.Tours/FestivalsOasis - NA 2025 tour dates announced with Cage the Elephant. Aug 24, 28, 31 and Sept 6, 12. The band has said they would NOT be using Dynamic ticket pricing.Milwaukee Metalfest - Down, Dillinger Escape Plan, Exodus, Speed, Nekrogoblikon, all on the bill for 2025. May 18-18.https://therave.com/metalfest Kerry King - Support from Municipal Waste and Alien Weaponry set to launch in San Francisco on January 15, 2025, and wrap at House of Blues in Las Vegas on February 22. Presale open now.https://blabbermouth.net/news/kerry-king-announces-first-ever-solo-headlining-tour-with-municipal-waste-and-alien-weaponry Reg ‘ol NewsShell Shock Controversy - Evergreen Terrace, that pulled out of a festival because Kyle Rittenhouse was appearing. The festival, Shell Shock, is a charity event that benefits the C.A.T. II Foundation, which is run by First Responder's Coffee and Cigars. Rittenhouse's appearance at the festival was controversial because he fatally shot two people and wounded a third during protests in Kenosha, Wisconsin [S3]. He was acquitted of murder in 2021. Evergreen Terrace said that they would not align with an event promoting a “perceived murderer” like Rittenhouse https://loudwire.com/evergreen-terrace-festival-kyle-rittenhouse/ Nita Strauss - Working on new upcoming solo record, has voiced a desire to work with none other than Alex Terrible. Says that since they are both on the same label that getting the guest vocal should be “easy-easy.”https://blabbermouth.net/news/nita-strauss-wants-to-collaborate-with-slaughter-to-prevails-alex-terrible-on-her-upcoming-solo-album Pudding Rappers - Just was turned onto this data based website. Their piece from Jan 2019 about the vocabularies of famous rappers is really crazy.https://pudding.cool/projects/vocabulary/ Vocal Study - Elizabeth from the Charismatic Voice has started a new study using more than just Will Ramos. This time it will be a PROPER study of harsh vocals using multiple harsh vocalists. https://www.kickstarter.com/projects/tcvresearch/harsh-vocal-research-with-the-charismatic-voice SuggestsMushroomhead - XXa dark industrial metal compilation that will chill you to the bone. Released in 2001, this album features haunting tracks like "Before I Die" and "Solitaire/Unraveling," blending aggressive riffs with atmospheric soundscapes. With its themes of inner turmoil and societal conflict, XX perfectly captures the spirit of the season. If you crave heavy music that evokes dread and catharsis, let the eerie vibes of XX transport you into a captivating, masked world this Halloween!Gaming/TechFollow-ups/CorrectionsSilent Hill: Townfall - With the Annapurna issues casting doubt on the company's future, they have made it known via their X account that this will NOT affect the future of the game. Konami and No Code will be there to catch whatever falls. Still no info on WHAT the game is specifically about. https://x.com/A_i/status/1840910801332310489 TrailersMario & Luigi: Brothership - https://youtu.be/tffEKtODS4g release on Nov 7.Reg ‘ol NewsDino Crisis - FINALLY coming to the current generation. “At some point before the end of the year” according to an announcement from Playstation, as confirmed by Capcom.https://comicbook.com/gaming/news/playstation-ps1-games-psx-ps5-ps4-dino-crisis/ PS5 ads - Welcome to the fold Sony fans. Playstation now has ads in the background on the home screen on PS5.SuggestsComic Books/BooksReg ‘ol NewsSuper Hero Trademark - The U.S. Trademark Office tribunal canceled the trademark after a request by S.J. Richold, the creator of the Super Babies comic book series. The trademark formerly was owned jointly by Marvel and DC. This could be MAJOR for independent comic houses.https://www.firstcomicsnews.com/marvel-and-dc-lose-trademark-for-super-hero/ SuggestsBatman: The Long Halloween -  dark, suspenseful tale that blends crime noir with Gotham's eerie underworld. As a mysterious killer named Holiday strikes on major holidays, Batman races to uncover their identity while navigating a deadly web of mobsters and emerging supervillains. With gripping twists and Tim Sale's moody, atmospheric artwork, this is a must-read for fans of detective stories and Gotham's darker side. Perfect for the spooky season, The Long Halloween will keep you hooked from the first shadowy page to the last.TV ShowsFollow-ups/CorrectionsChucky - Series canceled at SyFy/USA after season 3.TrailersLast of Us - Season 2 trailer https://youtu.be/BOsAJ7oe2QE Katherine O'Hara! 2025Secret Level - Unreal Tournament Teaser https://youtu.be/0T28j36azQA?si=ekFFu1k2g2mLn0JE That is definitely more than I knew about the lore previously.Reg ‘ol NewsThe Simpsons - DIDN'T END! For those who tuned in late, and/or only watch a few moments of Sunday's episode it was NOT in fact the end of the longest running series on TV. It was season 36's opening episode.https://variety.com/2024/tv/news/the-simpsons-series-finale-last-episode-season-36-premiere-1236159517/ Hysteria - New series on Peacock starring Bruce effing Campbell. Focused on a high school metal band. Also to be aired on SYFY and USA.https://cosmicbook.news/bruce-campbell-hysteria-trailer Robocop - New series to be produced by James Wan for MGM Studios. Peter Ocko to be showrunner.https://deadline.com/2024/09/chucky-canceled-syfy-usa-no-season-4-don-mancini-reaction-1236102192/ Max X U-Next - One of Japan's biggest anime streamers just struck a deal with Max for American distribution. https://www.hollywoodreporter.com/news/general-news/wbd-max-rollout-australia-sea-asian-markets-1236011401/ Vox Machina - Seasons 1 and 2 are now free on YouTube as we get ready for season 3 this fall. https://www.youtube.com/@PrimeVideo SuggestsThe Penguin - If you aren't watching this you are missing out. STREAMING ON MAXMoviesFollow-ups/CorrectionsHellboy: The Crooked Man - No theatrical release? Supposed to release on Sept 27. Apparently released in the UK but straight to home video in the US. Oct 8th to be specific.https://comicbook.com/movies/news/hellboy-the-crooked-man-us-release-date-revealed-vod/ Winnie the Pooh: Blood and Honey 2 - Available on Peacock as of Oct 1.TrailersNosferatu - https://youtu.be/nulvWqYUM8k Christmas Day… YES!!!Ballerina - https://youtu.be/hID0CkzcSkk the John Wick spinoff finally has a trailer. Ana De ArmasReg ‘ol NewsKris Kristofferson - Passed away at 88.Maggie Smith - The Harry Potter actress passed away at 89. (professor McGonagall)Daniel Day-Lewis - The enigmatic actor has come out of his retirement to be in his son's directorial debut “Anemone.” Day-Lewis also co-wrote the movie with his son, Ronan.https://variety.com/2024/film/news/daniel-day-lewis-ends-retirement-acting-new-film-1236161489/SuggestsTrick r Treat - This underrated gem masterfully intertwines multiple chilling stories, each revolving around the dark and twisted traditions of the holiday. It strikes a balance between creepy and fun, with a blend of suspense, eerie atmosphere, and dark humor, all while capturing the nostalgic spirit of Halloween night. From vengeful spirits to the mysterious and iconic Sam, the film delivers clever twists and unsettling thrills without relying on cheap jump scares. It's the ultimate celebration of Halloween's macabre magic—perfect for anyone craving a fun yet frightful watch.STREAMING ON MAXRumor MillConfirmations/RefutationsCONFIRM: Green Lantern - Kyle Chandler IS in fact playing Hal Jordan.New RumorsBane V Deathstroke - An unexpected movie is reportedly in development under James Gunn's DC Studios, though the DCU inclusion is not clear.. Said to be in development from Matthew Orton (Moon Knight [w] and Captain America: Brave New World [w]). Maybe we will finally get Bautista as Bane after all.Blade - Jeymes Samuel NOT Jordan Peele is now rumored to be directing. And Feige has approved a script from Eric Pearson.Green Lantern - Aaron Pierre and Stephen James new rumors for John Stewart. Pierre in Rebel Ridge, the voice of the young Mufasa in the new movie, and Dev-em in the Krypton series. James has no real nerdy movie cred, mostly just political things.Superman - James Gunn's new movie claims that Alan Tudyk has a secret role. Could he be voicing Brainiac? Has already been cast in Creature Commandos as the voice of Dr Phosphorus.Spider-Man 4 - New female lead? Zendaya out? To be noted, the same “leak” claims that they are looking for a new “male lead” for opposite Tom Holland.Mandalorian & Grogu - The final chapter in the “Mando-verse.” Though the future is not so bleak for both characters, as they are said to still be involved in future projects.Final Fantasy - XVI now being rumored for an XBox release in 2025. Not unfounded with the pixel remasters having recently been released on the platform.Secret Wars - Quicksilver, as played by Evan Peters, said to be in the movie.~ALSO~Recasting rumors are FINALLY coming in about Iron Man, Steve Rogers Captain America, and Black Widow. The movie will function as a soft reboot, where recasting will happen for future movies, while Thor, Dr Strange, etc. will all remain as is.Agatha - POSSIBLE SPOILERS! Aubrey Plaza is rumored to be ACTUALLY Lady Death. PLUS Billy is supposedly confirmed as being Wiccan.Apocalypse - The Rock supposedly cast as Apocalypse in the MCU.Masters of the Universe - Jared Leto is the rumored top pick for Skeletor in the reboot. Would be along side Alison Brie's Evil-lyn.You can support this show by visiting our merch store, or by leaving us an Apple Podcasts review.

We end Epic Movie Month with the only Martin Scorsese film to feature Daniel Day-Lewis along with one of the most misguided uses of the Irish accent, Gangs of New York. Disc-Connected's Ryan Verrill and Someone's Favorite Productions Dr. Will Dodson join the episode to Day-Lewis, Leonardo DiCaprio, and Scorsese's later works.The film follows the story of Amsterdam Vallon, a man who's father is murdered by Bill the Butcher in 1850's New York and vows revenge upon him. It's a classic revenge tale set in a time and place rarely mined in media, making the overrated nature of the film that much more disappointing.For more Kulturecast episodes and podcasts guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-kulturecast--2883470/support.

In Part 2 of our episode, we look at There Will Be Blood (2007), directed by Paul Thomas Anderson and starring Daniel Day-Lewis, along with Paul Dano and Kevin J. O'Connor. Day-Lewis is one of the early oil tycoons whose greed takes him down a strange and destructive path. COMING ATTRACTIONS: In our next episode, we look at Westerns being used as an anti-Capitalist allegory. What? Yes, indeed, just come along for the ride. We start with McCabe and Mrs. Miller, and finish up with The Claim. Join us, won't you? --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support

National Zipper day.  Entertainment from 1994.  Saigon evacuated as it fell, Rodney King LA riots started, Desmond Doss saved 75 injured soldiers, Dachau concentration camp liberated.  Todays birhdays - Duke Ellington, Carl Gardner, Willie Nelson, Tommy James, Jerry Seinfeld, Daniel, Day-Lewis, Eve Plumb, Michelle Pfeiffer, Carnie Wilson, Uma Thurman.  Alfred Hitchcock died.Intro - Pour some sugar on me  - Def Leppard   http://defleppard.com/Monaday - Imagine DragonsZipper - Jason DeruloBump & Grind - R. KellyPiece of my heart - Faith HillWhite Chrstmas - Bing CrosbyBirthdays - In da club - 50 Cent     http://50cent.com/Take the A Train - Duke EllingtonYakety Yak - The CoastersOn the road again - Willie NelsonMony Mony - Tom James & the ShondellsBrady Bunch TV themeCool Rider - Michelle PfeifferHold on - Wilson PhillipsExit - Its not love - Dokken   http://dokken.net/Follow Jeff Stampka on Facebook 

Michael Martin returns to talk about Al's favorite movie ever.

Welcome to Bad Dad Rad Dad, where Kylie and Elliott talk about the movies they watch each week while searching for better cinematic dads. Along the way, they see the most toxic versions of themselves on film, reflect on the subtlety of a masterpiece, discover a Charlotte Wells inspiration, lament misleading trailers, and hop aboard the disappointing nostalgia train. This week's movies are: Phantom Thread (2017), Sound of Metal (2019), Morvern Callar (2002), American Fiction (2023), Good Grief (2023), and Bring It On (2000).Watch Amy Poehler and Seth Meyers hypothesis about Daniel Day-Lewis being done with chips. Follow along onInstagram: @baddad.raddadLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.

In the Season 4 finale — Cade and Diane discuss two films about vampires: 20th Century Women (2016) and Phantom Thread (2017). Watch the video version at: ⁠YouTube.com/@CadeThomas/streams⁠ Double Feature Movie Club is a weekly movie review show with a retro vibe. Two movies. Three people. One rambling conversation. Each film is our first time watching them. We often go off-topic. 20th Century Women is a 2016 American coming-of-age comedy drama film written and directed by Mike Mills and starring Annette Bening, Elle Fanning, Greta Gerwig, Lucas Jade Zumann, and Billy Crudup. It is set in 1979 in Southern California and partly inspired by Mills's childhood. Phantom Thread is a 2017 American historical drama film written and directed by Paul Thomas Anderson, and starring Daniel Day-Lewis, Vicky Krieps and Lesley Manville. Set in 1950s London, it stars Day-Lewis as couture dressmaker who takes a young waitress, played by Krieps, as his muse. It marked Day-Lewis's final film role to date.

Welcome to The B-Side, from The Film Stage. Here we talk about movie stars! Not the movies that made them famous or kept them famous, but the ones they made in between. We discuss everyone's favorite method man: Daniel Day-Lewis. Our B-Sides are 1988's Stars and Bars, Eversmile, New Jersey (1989), Jim Sheridan's The Boxer, and Rebecca Miller's The Ballad of Jack and Rose. Returning guest Fiona Underhill joins us to discuss the myth-making around the actor, his process, as well as a few hot takes on whether some of his most lauded credits are properly rated. Naturally, we also discuss his peak ‘90s hotness (it's a tie between, Mohicans and The Crucible, by the way), and his influence, for better or worse, on a younger generation of actors. The scope of our B-Sides unlock a few lesser-seen tools in Day-Lewis' belt, from the farcical to the oddball. These are modes he doesn't necessarily seem comfortable in as a younger star, but that serve as practice for when he deconstructs his own serious image with his career peak in Phantom Thread. We can all be glad he gave us Reynolds Woodcock before retiring. Be sure to give us a follow on Twitter and Facebook at @TFSBSide. Also enter our giveaways, get access to our private Slack channel, and support new episodes by becoming a Patreon contributor.

Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 22 of the Director Watch Podcast, the boys are joined by AwardsWatch contributor Josh Parham to discuss the next film in their Paul Thomas Anderson series, There Will Be Blood (2007). At the midpoint of the series, the boys have reached one of the most important films of the 21st century, and a vital film for both hosts in terms of their film taste and inspired them to become the writers/podcasters they are today. With There Will Be Blood, PTA created a film that broke through the zeitgeist, crossing over with audiences and the Academy, and thus he made the film he'd arguable be most remembered for, as Anderson constructed a captivating, darkly humorous masterpiece that clashes capitalism and religion in an oil filled epic set in the small, imaginary town of Little Boston. Led by an all time performance by Daniel Day Lewis, Ryan, Jay, and Josh discuss the film overall, Day Lewis and Paul Dano's performances, how There Will Be Blood shares a bond with No Country for Old Men in more ways than one, downloading movies in the early 2000s, Jonny Greenwood's iconic score, the morality of these characters, milkshakes and so much more. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 1h57m. The guys will be back next week to continue their series covering the films of Paul Thomas Anderson with a review of his next film, The Master. The film is streaming on MAX. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

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.

On this day we remember things.  It's call Memorandum Day.  I remember it well from my sea-faring days out on the ocean blue.  Remember that band?  The Ocean Blue?  I once made a mix tape at my friend Greg's house and I put a song by them on there.  It was a decent song.  Always takes me back to that time when I hear it.  It'll take you back too but you don't have to listen to some song by The Ocean Blue.  Just listen to this episode and it'll be like your back there in Greg's living room listening to some pompous English band.Support the showhunchbunny.com

Our June Special Subject samples the surviving silent cinema of Dave's favorite director (now revealed!), King Vidor. We tease Vidor's auteur preoccupations out of these four early films—The Sky Pilot (1921), Peg o' My Heart (1922), Wild Oranges (1924), and La Bohème (1926)—and find a common focus on the successful, frustrated, or warped self-realization of his heroines. We explore the way Vidor articulates this theme through sometimes eccentric versions of a variety of genres: Western, comedy, Gothic melodrama, woman's picture. And if that doesn't tempt you, there are graphic and brutal fist fights, random storks, demonic dogs, milk-loving dogs, dangerous stunts, and Lillian Gish going that extra 10 miles for her art long before De Niro and Day-Lewis. (10 miles, dragged along the cobblestones, in fact.)    Time Codes: 0h 0m 45s:           King Vidor, Transcendentalist         0h 13m 05s:         THE SKY PILOT (1921) [dir. King Vidor] 0h 34m 38s:         PEG O' MY HEART (1922) [dir. King Vidor] 0h 44m 03s:         WILD ORANGES (1924) [dir. King Vidor] 1h 01m 29s:         LA BOHEME (1926) [dir. King Vidor] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

On this podcast we discuss Chris Rock's new stand up special, the recent steroids bust in Jiu Jitsu, and we react to the amazing acting chops of Raymond Porter. --- Support this podcast: https://podcasters.spotify.com/pod/show/panana-st/support

Help Support Mike as an Actor and support his Podcast channel. Every new supporter will receive a custom NFT character from the show. https://www.patreon.com/mikefarrellAll characters will be uploaded on opensea https://opensea.io/collection/mikefar...Mike's Links here - https://linktr.ee/mikes_insta_life_Jim Sheridan was born in Dublin, Ireland on 6 February 1949.[2] He is the brother of playwright Peter Sheridan. The family ran a lodging house, while Anna Sheridan worked at a hotel and Peter Sheridan Snr was a railway clerk with CIÉ. Sheridan's early education was at a Christian Brothers school. In 1969 he attended University College Dublin to study English and History. In 1972, he graduated with a Bachelor of Arts degree in English. He became involved in student theater there, where he met Neil Jordan, who also was later to become an important Irish film director. After graduating from UCD in 1972, Sheridan and his brother began writing and staging plays, and in the late 1970s began working with the Project Theatre Company.In 1981, Sheridan emigrated to Canada, but eventually settled in the Hell's Kitchen section of New York City. He enrolled in NYU's Tisch School of the Arts and became the artistic director of the Irish Arts Center.Sheridan returned to Ireland in the late 1980s. In 1989, he directed My Left Foot, which became a critical and commercial success and won Daniel Day-Lewis and Brenda Fricker Academy Awards. He followed that with The Field (with Richard Harris) in 1990; then with In the Name of the Father in 1993, a fictionalized re-telling of the case of the Guildford Four. The film won the Golden Bear at the 44th Berlin International Film Festival.In 1996 he co-wrote Some Mother's Son with Terry George. The Boxer (with Daniel Day-Lewis) was nominated for a Golden Globe for best film drama in 1997. The film was Sheridan's third collaboration with Day-Lewis after My Left Foot and In the Name of the Father, making him the only director to work with Day-Lewis on three films. In 2003, he released the semi-autobiographical In America, which tells the story of a family of Irish immigrants trying to succeed in New York. The film received positive reviews and earned Samantha Morton and Djimon Hounsou Academy Award nominations. In 2005 he released Get Rich or Die Tryin', a film starring rap star 50 Cent.Sheridan helmed the 2009 film Brothers, starring Tobey Maguire and Jake Gyllenhaal, which was shot in New Mexico. He also directed the thriller Dream House, which starred Daniel Craig, Naomi Watts, and Rachel Weisz.Support the show

Elvis Duran and The Morning Show have a PACKED Tuesday! Lewis Capaldi joins the show LIVE and we all are still laughing from his interview! Elvis talked about a waiter leaving a favorite costumer a lot of money after they passed away, why are people upset? What is wrong with people who binge 'Murder" shows?!?!See omnystudio.com/listener for privacy information.

So I've been watching a lot of Day-Lewis's films for the first time recently and this man is a legend. There have been conversations surrounding Day-Lewis for years in regard to the greatest actors who have ever lived. I share my opinion on the subject. Among that, I discussed Steven Spielberg's highly anticipated "The Fabelmans", and Damien Chazelle's upcoming "Babylon" and lastly I concluded with my take on the argument surrounding if Marvel is considered "Cinema" or not. Keep up with Unbashful by following @unbashfulpod @nicholas.doucet on Instagram Thank you for listening and watching and have a fantastic day.

Today we hop in the way back machine to witness the birth of one of filmmaking's greatest pairings with PT Anderson's 2007 oil drama, There Will Be Blood. This story is one of a single-minded oil man and the depths he'll go to win in his pursuits of riches and conquest. Starring Daniel Day-Lewis in the lead, supported by Paul Dono, Kevin J. O'Connor, and Ciaran Hinds, There Will be Blood doesn't want for talent, and being that it was written and directed by PTA, it is dripping with auteur potential and received a ton of nominations, including securing an Oscar win for Day-Lewis for best actor. But, does it hold up? Listen in as Jon, Colin, and Brent, discuss milkshakes and straws as we see if this well is dry or if this flick strikes oil.

In our final Daniel Day-Lewis Acteurist Oeuvreview episode, we look at a commercial and critical flop, Rob Marshall's Nine (2009), a musical based on Fellini's celebrated semi-autobiographical film 8 1/2, and a commercial and critical triumph, Steven Spielberg's Lincoln (2012), covering the final four months of Abraham Lincoln's life and especially the process of passing the Thirteenth Amendment. We consider how these roles relate to Day-Lewis's screen persona, then launch into a discussion of his entire career as we each give our Top 10 Daniel Day-Lewis performances. Has Day-Lewis been "typecast" by critics? And how do his best roles serve his unique qualities as an actor and personality? Find out what we think (and feel free to tell us what you think)!    Time Codes: 0h 01m 00s:    NINE (2009) [dir. Rob Marshall] 0h 22m 37s:    LINCOLN (2012) [dir. Steven Spielberg] 0h 50m 04s:    Daniel Day-Lewis Wrap-Up & Top 10s   +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

At last we come to the Daniel Day-Lewis perhaps best known to cinephiles: the over-the-top monstrous patriarchs of Martin Scorsese's Gangs of New York (2002) and Paul Thomas Anderson's There Will Be Blood (2007). Working from a couple of the best viewings we've personally had of these movies, we discuss how Bill the Butcher and Daniel Plainview build upon the Day-Lewis persona, how they radically depart from it, and how they set the stage for future developments. If you've ever been embarrassed by your dad's inability to socially interact like a normal human being, this episode is for you.   Time Codes: 0h 01m 00s:    GANGS OF NEW YORK (2002) [dir. Martin Scorsese] 0h 58m 20s:    THERE WILL BE BLOOD (2007) [dir. Paul Thomas Anderson] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Will God answer your prayer if you don't end with, "In Jesus' name, Amen?" Learn what praying in the name of Jesus really means. I taught this week on the call of Abraham and the development of God's missionary call through the nation of Israel as they were responsible to communicate the truth of God to the cultures around them. They were given that great commission. The great commission didn't start in Matthew 28. It started with Abraham in Genesis 12 —the first three verses there —Abraham, chosen by God to raise up a nation who would then be God's priests to the world so that they would be a blessing to all of the nations. They had a unique role in the great monotheistic religion. The Jews were supposed to reflect morality to the world. Israel was to witness to the name of God. When they talked about the name of God and witnessing to God's name, that does not mean that they were to let everybody know what they called God, "Yahweh." Their goal wasn't to cover the countryside with evangelists who just let everybody know what the right word for God was. It meant something different. ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ https://linktr.ee/jacksonlibon --------------------------------------------------- #realtalk #face #instagram #SDF #SYNDICAT #DESPUTES #amour #take #couple #dance #dancers #vogue #voguedqnce #garden #tiktok #psychology #beyou #near #love #foryou #money #ForYouPizza #fyp #irobot #theend #pups #TikToker #couplegoals #famille #relation #doudou #youtube #twitter #tiktokers #love #reeĺs #shorts #instagood #follow #like #ouy #oyu #babyshark #lilnasx #girl #happybirthday #movie #nbayoungboy #deviance #autotrader #trading #khan #academy #carter #carguru #ancestry #accords #abc #news #bts #cbs #huru #bluebook #socialmedia #whatsapp #music #google #photography #memes #marketing #india #followforfollowback #likeforlikes #a #insta #fashion #k #trending #digitalmarketing #covid #o #snapchat #socialmediamarketing¹

https://youtu.be/og1SfJ7nOAUWill God answer your prayer if you don't end with, "In Jesus' name, Amen?" Learn what praying in the name of Jesus really means. I taught this week on the call of Abraham and the development of God's missionary call through the nation of Israel as they were responsible to communicate the truth of God to the cultures around them. They were given that great commission. The great commission didn't start in Matthew 28. It started with Abraham in Genesis 12 —the first three verses there —Abraham, chosen by God to raise up a nation who would then be God's priests to the world so that they would be a blessing to all of the nations. They had a unique role in the great monotheistic religion. The Jews were supposed to reflect morality to the world. Israel was to witness to the name of God. When they talked about the name of God and witnessing to God's name, that does not mean that they were to let everybody know what they called God, "Yahweh." Their goal wasn't to cover the countryside with evangelists who just let everybody know what the right word for God was. It meant something different. ☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆ https://linktr.ee/jacksonlibon --------------------------------------------------- #realtalk #face #instagram #amour #take #couple #dance #dancers #vogue #voguedqnce #garden #tiktok #psychology #beyou #near #love #foryou #money #ForYouPizza #fyp #irobot #theend #pups #TikToker #couplegoals #famille #relation #doudou #youtube #twitter #tiktokers #love #reeĺs #shorts #instagood #follow #like #ouy #oyu #babyshark #lilnasx #girl #happybirthday #movie #nbayoungboy #deviance #autotrader #trading #khan #academy #carter #carguru #ancestry #accords #abc #news #bts #cbs #huru #bluebook #socialmedia #whatsapp #music #google #photography #memes #marketing #india #followforfollowback #likeforlikes #a #insta #fashion #k #trending #digitalmarketing #covid #o #snapchat #socialmediamarketing

We return to our Daniel Day-Lewis Acteurist Oeuvre-view with 1996's The Crucible (directed by Nicholas Hytner with a screenplay by Arthur Miller, based on his 1953 play) and 1997's The Boxer, reuniting Day-Lewis with writer-director Jim Sheridan and writer Terry George from In the Name of the Father and returning to the subject of Northern Ireland and the Troubles. We discuss the ways in which The Crucible serves as a liberal allegory for McCarthyism and its depiction of the jouissance of hysteria and accusation, and then turn to The Boxer's examination of an impossible personal/political situation, which leads us to consider Day-Lewis's rare but memorable turns as a romantic hero. Time Codes: 0h 01m 00s:    THE CRUCIBLE (1996) [dir. Nicholas Hytner] 0h 43m 01s:    THE BOXER (1997) [dir. Jim Sheridan] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Podchaser Leave a Review   Support The Daily Gardener Buy Me A Coffee   Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Friends of the Garden Meeting in Athens, Georgia Register Here   Historical Events 1814 Birth of Charles MacKay, Scottish poet, writer, and songwriter. In The Collected Songs of Charles Mackay, Charles wrote a song about the Meadow Sweet: Rose! We love thee for thy splendor, Lily! For thy queenly grace! Violet! For thy lowly merit, Peeping from thy shady place! But mine airy, woodland fairy, Scattering odors at thy feet, No one knows thy modest beauty, No one loves thee, Meadow-Sweet!   1851 Birth of Alice Morse Earle (books by this author), American historian and author. Alice wrote two garden books: Old Time Gardens (1901) and Sun Dials and Roses of Yesterday (1902). Alice wrote, Farm children have little love for nature and are surprisingly ignorant about wildflowers save a few varieties. The child who is garden bred has a happier start in life, a greater love and knowledge of nature. On the peony, Alice wrote: [She] always looks like a well-dressed, well-shod, well-gloved girl of birth, breeding, and of equal good taste and good health; a girl who can swim, and skate, and ride, and play golf.   1902 Birth of Thomas “Tommy” Dolliver Church (books by this author), California landscape architect. Tommy pioneered the modern California Style design style. In 1955, Tommy wrote, When your garden is finished I hope it will be more beautiful than you anticipated, require less care than you expected, and have cost only a little more than you had planned. Unlike people, gardens never strive for perpetual youth—they want to look old from the day they were born. Their greatest glory comes with maturity.   1904 Birth of Cecil Day-Lewis (books by this author), Irish-born British poet. He used the pen name Nicholas Black for his mystery stories. Cecil was the Poet Laureate for four years before his death in 1972. He was also the father of actor Sir Daniel Day-Lewis. In Cecil's Overtures to Death and Other Poems (1938), In June we picked the clover, And sea-shells in July: There was no silence at the door, No word from the sky. A hand came out of August And flicked his life away: We had not time to bargain, mope, Moralize, or pray.   Grow That Garden Library™ Book Recommendation The Food Forest Handbook by Darrell Frey and Michelle Czolba This book came out in 2017, and the subtitle is Design and Manage a Home-Scale Perennial Polyculture Garden. Before I even get started with my review, I have to say that this book gets high praise on Amazon; it's a five-star book. The authors are passionate about growing food year-round - without fossil fuels - and increasing biodiversity on the land and wild market gardening. In the introduction to their book, Darryl and Michelle point out that the food forest is one of the oldest ways to garden. It's the edges of the forest that were the most fruitful places for both hunting and gathering. And today, food forests are making a comeback. Now you might be asking yourself, what is a food forest? Well, a food forest is simply a food-producing garden that's built around trees and perennials. I've been a passionate fan of orchards and mini orchards for the past couple of years. I'm installing one up at my cabin, planting even more trees this spring. Darryl and Michelle point out that, A well-managed food forest is an integrated system and it includes all kinds of plants, fruits, vegetables, herbs, medicinal plants, and plantings that promote beneficial insects and balanced nutrients. And in case you're starting to feel a little overwhelmed. Don't be. Because these food forests can be simple and include only a few species, or they can contain a myriad of plants. The bottom line here is that Darryl and Michelle will help you feel confident and inspired to create your own food forest, whether on a small or grand scale in your backyard, front yard, patio, or allotment. This book is 256 pages of planning, designing, and managing your very own food forest. You can get a copy of The Food Forest Handbook by Darrell Frey and Michelle Czolba and support the show using the Amazon link in today's show notes for around $20.   Botanic Spark 1920 Birth of Edwin George Morgan (books by this author), Scottish poet and translator associated with the Scottish Renaissance. He is remembered as one of the foremost Scottish poets of the 20th century. In 1999, Edwin became the first Glasgow Poet Laureate.  In 1968, Edwin wrote, Yes, it is too cold in Scotland for flower people; in any case who would be handed a thistle?   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

In this Daniel Day-Lewis Acteurist Oeuvre-view episode we look at two movies from 1993: Jim Sheridan's In the Name of the Father, about mid-70s English-Irish relations, anti-terrorist hysteria, and father-son relationships; and The Age of Innocence, Martin Scorsese's adaptation of Edith Wharton's novel about social mores in New York at the end of the 19th century. We discuss Scorsese's layered examination of romantic love and gender roles, and why Wharton's novel is ideal Scorsese source material; as well as Sheridan's layered examination of what it takes to challenge a corrupt system. If you're looking for layers and examinations, you can stop looking right now. Day-Lewis brings an array of relevant qualities to the roles, from clownishness, boyishness, and mania to contempt, frustration, and idealism.    Time Codes: 0h 01m 00s:    IN THE NAME OF THE FATHER (1993) [dir. Jim Sheridan] 0h 42m 10s:    THE AGE OF INNOCENCE (1993) [dir. Martin Scorsese] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

Charlotte's in the midst of germinating and sowing seeds and talks through her current crop in this episodes Charlotte's Corner. Plus she's been delving into her cookbook archive to take a fresh look at Tamasin's Day-Lewis' classic "Tamasin's Kitchen Bible". Which leads to quite a debate about the pronunciation of Tamasin! We also look at those small ingredients that can help elevate a dish, such as spring onions, chives, lemon and white miso. --- Send in a voice message: https://anchor.fm/voyagearoundmyaga/message

In this episode of our Daniel Day-Lewis Acteurist Oeuvre-view, we go from the depths of obscurity, the straight-to-video Eversmile, New Jersey (1989, directed by Carlos Sorin), to the heights of box office success, with Day-Lewis's first, and only, Hollywood action movie, The Last of the Mohicans (1992, directed by Michael Mann).We praise the hilarious slice of madness that is Eversmile, New Jersey, in which Day-Lewis plays a quixotic missionary for "dental consciousness" in Patagonia, arguing that it contains a great Day-Lewis performance, and discuss The Last of the Mohicans' treatment of the French and Indian War.  Time Codes: 0h 01m 00s:    EVERSMILE, NEW JERSEY (1989) [dir. Carlos Sorin] 0h 29m 30s:    THE LAST OF THE MOHICANS (1992) [dir. Michael Mann] 0h 58m 47s:    Listener Mail with Adam {on the mystery genre} +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

In this week's Acteurist Oeuvre-view, we're still in the early stages of Daniel Day-Lewis's career, and once again the utterly obscure (Pat O'Connor's quirky comedy Stars and Bars (1988)) is paired with a much better-known film (Jim Sheridan's My Left Foot (1989), based on the life of disabled writer and painter Christy Brown). We discuss Stars and Bars' attempt to achieve a tone like Scorsese's After Hours, and why it wouldn't be the same if Hugh Grant were playing Day-Lewis's part. Then we move on to discussing what makes Christy Brown a perfect role for Day-Lewis and what emotional qualities make the performance great. We conclude that My Left Foot is sort of like Lynch's The Elephant Man with a demonic rather than saintly central figure.  Time Codes: 0h 01m 00s:    Stars and Bars (1988) [dir. Pat O'Connor] 0h 22m 35s:    My Left Foot (1989) [dir. Jim Sheridan] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

From Brando to Day-Lewis; How Method Acting Revolutionized Hollywood

Our second Daniel Day-Lewis Acteurist Oeuvre-view introduces us to the little-known, but very worthy, Nanou (1986), Conny Templeman's first and seemingly only feature, which we liked enough to discuss it in detail even though Day-Lewis's part is very minor. We draw comparisons between the film and Joanna Hogg's The Souvenir, and between Day-Lewis's part in it and Ben Stiller's in Reality Bites. Then we move on to Philip Kaufman's The Unbearable Lightness of Being (1988) – in which Day-Lewis plays a cool and detached womanizer – and try to articulate the various ways in which the main characters (the others played by Juliette Binoche and Lena Olin) reflect and differ from each other in their attitudes to sex, aesthetics, and love.    Time Codes: 0h 01m 00s:                Nanou (1986) [dir. Conny Templeman] 0h 21m 33s:                The Unbearable Lightness of Being (1988) [dir. Philip Kaufman]                                     +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

Our Daniel Day-Lewis Acteurist Oeuvre-view gets started with the two 1985 films that established his range, giving a naturalistic portrayal of a working-class youth in the one and a caricature of an upper-class aesthete in the other: Stephen Frears' My Beautiful Laundrette, Hanif Kureishi's Oscar-nominated dark comedy about race, class, and sexuality in Thatcher-era England, and Merchant-Ivory's A Room With a View, Ruth Prawer Jhabvala's Oscar-winning adaptation of E. M. Forster's romantic comedy of ideas. We argue for Day-Lewis as the lynchpin of these ensemble pieces, providing the (problematic) heart of one and the void at the center of the other, and consider how they anticipate his future performances.     Time Codes: 0h 01m 00s:                My Beautiful Laundrette (1985) [dir. Stephen Frears] 0h 44m 01s:                A Room with a View (1985) [dir. James Ivory]                                                   +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com

Amanda Holmes reads Cecil Day Lewis's poem “Walking Away.” Have a suggestion for a poem by a (dead) writer? Email us: podcast@theamericanscholar.org. If we select your entry, you'll win a copy of a poetry collection edited by David Lehman.This episode was produced by Stephanie Bastek and features the song “Canvasback” by Chad Crouch. See acast.com/privacy for privacy and opt-out information.

DANNY DAY-LEWIS AND THE NEWS     Pt. Two: Russell Crowe was still a year from being a worldwide superstar starring as Maximus in Gladiator when he puffed up and got gray hair for The Insider (1999). It's about tobacco and old-world journalism (based on an epic piece in Vanity Fair) without a mention of clicks, blogs or website banners. One of Mann's most critically praised film with his most Oscar noms. Al Pacino plays Johnny 60-Minutes trying to get Crowe (as Johnny Tobacco) to, well, crow about big tobacco in what would be a watershed monent in America after a lot of hemming and hawing about the truth and corproate timidity/complicity. Crowe wears a convincing wig, by the way, it ain't real.   Christopher Plummer swoops in and steals the show as Mike Wallce, grinning a lot like Timothy Dalton in Hot Fuzz, weirdly. Big time disagreement on this one, folks. Again, a fight almost ensues.  Theme Song by: WEIRD A.I. 

DANNY DAY-LEWIS AND THE NEWS      Pt. One: After Manunter and a number of false-start projects, Michael Mann swerved hard from modern crime and neon into the historical epic LAST OF THE MOHICANS (1992).  Daniel Day-Lewis built a time machine to go back in time to 1757 to research his role as Hawkeye (not the M.A.S.H. character or the superhero) and it shows! Between Mann's notorious  attention to detail and Day Lewis's hardcore method acting prep, Mohicans still stands out as a stone cold period piece classic that is also the most effectively romantic of Mann's films.  Pt. Two: Russell Crowe was still a year from being a worldwide superstar starring as Maximus in Gladiator when he puffed up and got gray hair for The Insider (1999). It's about tobacco and old-world journalism (based on an epic piece in Vanity Fair) without a mention of clicks, blogs or website banners. One of Mann's most critically praised film with his most Oscar noms. Al Pacino plays Johnny 60 Minutes trying to get Crowe to, well, crow about big tobacco in what would be a watershed monent in America after a lot of hemming and hawing about the truth and corproate timidity/complicity. Crowe wears a convincing wig.   Christopher Plummer swoops in and steals the show as Mike Wallce. Theme Song by: WEIRD A.I. 

Join your host Ryan Perez and guest Gabriel-Kane Day-Lewis as they celebrate Ryan's five years of sobriety, talk about their friendship and history, and discuss Gabriel-Kane's life experiences growing up as well as becoming a model and actor. His new movie “Terror on the Prairie” comes out in 2022, and was a transformative experience for G-K. See acast.com/privacy for privacy and opt-out information.

What a pão-some weekend in Brazil! There was racing. Lewis Hamilton was a GOAT. Lando Norris felt 22. The FIA was consistently inconsistent. Christian Horner was predictably petty. And, oh look! A wild Fuming Toto Wolff appears. Boxes, let's unbox-box the Brazil Grand Prix!Digital warmupLap 1: F1 newsGoodbye Antonio “Italian Jesus” Giovinazzi and hello Guanyu Zhou!Lap 2: After the Mexico GPWas the Mexico GP Valtteri Bottas' fault? (what isn't Valtteri Bottas fault tbh)Daddy issues continue: Charles Leclerc + Checo Lap 3: Before the Brazil GPThere were some logistics concerns & delayed deliveries. But nw, Haas & Guenther Steiner aren't too concerned.Racing RhymeAnalysisQualiGo Lewis Hamilton! Oh, JK.Max Verstappen pays up but don't worry he'll never be poor.*Toto starts to lose it*SprintLewis is a champSeb is a comedianValtter gets P1RaceStrategy (tires + pit stops)HighlightsHannah's Haiku: Lando Norris' WeekendWhat a weekend for the top 2 D2s, Checo Perez & Valtteri BottasLewis Hamilton & Max Verstappen at it againDiscussion: The Red Bull & Mercedes FeudMax pushing Lewis wideMichael Masi (aka sassy) is BACKChristian “Karen” Horner & unhinged TotoResultsDriver of the Day: Lewis obvi but also s/o to all the D2s out thereDick in the Box BoxPotentially the FIA?StandingsBox BoxNext up: Qatar GPFood: Machboos & BalaleetShare, subscribe, review, and follow us on social to keep up!Support the show (https://venmo.com/boxboxf1pod)

OUR TOUR STARTS THIS WEEK! GO GET YOURSELF A TICKET! On today's show: Big Brother's Derek X. & Claire hook up and give Us Weekly the ultimate photoshoot exclusive, Zara Larsson goes IN on bowling, Bill & Melissa Gates' daughter gets married (Zzzzzz), NPR deletes a shady tweet (well, only sort of), Lourdes Leon gets interviewed by Debi Mazar, Two BIP'ers smooch so intensely that they run their car into a house?????, Lucy Boyton pulls something surprising out of her purse, Daniel Day-Lewis' son, Gabriel, decides to start acting, Madison LeCroy gives her engagement exclusive to... Amazon Live? And Eve is pregnant with Mr Gumball's baby. Congrats Eve! Call 619.WHO.THEM to leave questions, comments & concerns, and we may play your call on a future episode. Support us and get a ton of bonus content over on Patreon.com/WhoWeekly and come see us on tour! Tickets at WhoWeekly.us/live. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Connor & Jon explore the beautiful world that Martin Scorsese has constructed in Gangs of New York. Jon can't stop gushing at the sets and depiction of New York. Connor loves Day-Lewis saying "whoopsie daisy." And the two wonder what it could have been if Scorsese had more money for the draft riots.WARNING: Major spoilers for Gangs of New York & TitanicFollow us:Facebook: https://www.facebook.com/rulesoftheframe/  Instagram: https://www.instagram.com/rulesoftheframe  Twitter: https://twitter.com/RulesOfTheFrame  YouTube: https://www.youtube.com/channel/UCII7_Fevn8na1ZkXyfUeTQA/featuredFilms mentioned in this episode:--------------------------------Gangs of New York (2002) | Dir.  Martin ScorseseGoodfellas (1990) | Dir. Martin ScorseseTaxi Driver (1976) | Dir. Martin ScorseseRaging Bull (1980) | Dir. Martin ScorseseMean Streets (1973) | Dir. Martin ScorseseHugo (2011) | Dir. Martin ScorseseTitanic (1997) | Dir. James CameronThe Departed (2006) | Dir. Martin ScorseseThe Wolf of Wall Street (2013) | Dir. Martin ScorseseShutter Island (2010) | Dir. Martin ScorseseSaving Private Ryan (1998) | Dir. Steven SpielbergThe Patriot (2000) | Dir. Roland EmmerichFellini Satyricon (1969) | Dir. Federico FelliniBattleship Potemkin (1925) | Dir. Sergei EisensteinStar Wars: Episode 1 - The Phantom Menace (1999) | Dir. George LucasCleopatra (1963) | Dir. Joseph L. MankiewiczThe Lord of the Rings: The Fellowship of the Ring (2001) | Dir. Peter JacksonThe Last Temptation of Christ (1988) | Dir. Martin Scorsese

An in depth and irreverent look at 90's TV classic Dawson's Creek hosted by Kathryn and Katie. This week, we are introduced to Devon who is played by a notable actress and is a pretty but hateful short arse. We have a lot to chat about including Kathryn being unable to press record on a Zoom, how Katie feels about massages and how the very method Devon is unable to act out the basic human emotions that we seem to be able to access in relation to her. So, grab your script (don't worry if you can't find yours, Dawson has thousands of copies) and let's make a really ropey film that's NOT about Dawson's life, ok? If you're enjoying this podcast, please like, subscribe, follow, rate, review or whatever other variety of verbs your podcast platform might use.Email dawsonsweaklypod@gmail.com Instagram @dawsonsweaklypodTwitter @dawsonsweaklyFacebook @dawsonsweakly 

Are we living through an era of madness? Stephen Blackwood sits down with best-selling author Douglas Murray to discuss manifestations of madness in contemporary culture. They explore the metaphysical system sustaining present ideologies, consider the necessity of meaning and forgiveness, and move beyond to discuss the transcendent values and works of art that enlighten, and perhaps offer an antidote for, the madness of the present. Works mentioned: Literature: T. S. Eliot, especially The Four Quartets; Philip Larkin; C. Day-Lewis; Shakespeare Music: Palestrina; Orlando Gibbons; Thomas Tallis, especially Spem in Alium and Lamentations of Jeremiah; Gustav Mahler, especially Symphony No. 3; Igor Stravinsky; Olivier Messiaen; Johannes Brahms, piano; Benjamin Britten; Michael Tippett

Visszatért a Vakfolt podcast, immáron a hatodik évadba csapunk bele. A 2018-as év hátralevő részére új műsortematikát találtunk ki: ezúttal nem rendezők és nem is világtájak megismerésével foglalkozunk, hanem a legnagyobb színészlegendák alakításait csodáljuk meg. Évadunk nyitányában Daniel Day-Lewis két filmjét tekintettük meg, és a továbbiakban további híres brit és hollywoodi színművészek két-két szerepét dolgozzuk majd fel. DDL az idén vonult vissza a szakmától, miután a Phantom Thread (Fantomszál) című filmje tiszteletköreit lejárta, így nem is volt kérdés, hogy a munkássága előtt emeljük meg kalapunkat elsőként az új szezonban. Az évadnyitót az Ivory-Merchant produkciónak, A Room with a View-nak (Szoba kilátással) szenteljük, amely nemcsak Day-Lewis egyik első jelentősebb szerepe 1985-ből, hanem egyben Helena Bonham Carter főszereplői debütálása is. A brit filmkészítés üdvöskéi mellett azért a mindig megbízható karakterszínészek sokasága is felbukkan a filmben, illetve a minden szerepében feledhetetlen Maggie Smith és Judi Dench is együtt láthatóak a képernyőn. Mi mégis inkább a férfi szereplőket mustráljuk végig, már csak azért is, mert az Edward-korabeli kosztümös történet Helena Bonham Carter ideális férjjelöltjének a megtalálásáról szól. Ki a jobb parti, Daniel Day-Lewis sznob arisztokratája, vagy Julian Sands búsképű lovagja? A film jelentős része a firenzei nyárban játszódik, így nem maradhatnak el az összehasonlítások a Call Me By Your Name-mel sem: mindkét történet James Ivory nevéhez fűződik (a Szoba kilátással az ő rendezése, a Szólíts a neveden pedig a forgatókönyve alapján készült), mindkét film az olasz temperamentumot állítja szembe az angolszász társadalmi elvárások nyomásával. Végezetül a humort sem felejthetjük el, és elmélázunk azon, miért látjuk oly keveset komikus szerepben a mély beleéléséről ismert Daniel Day-Lewist. Linkek A Vakfolt podcast Facebook oldala A Vakfolt podcast a Twitteren Vakfolt címke a Letterboxdon A Vakfolt az Apple podcasts oldalán András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

Paul Thomas Anderson's Phantom Thread is nominated for six Academy Awards, including Best Picture, Best Director for Anderson, and Best Supporting Actress for Lesley Manville. Oh, and including Best Actor in a Leading Role for Daniel Day-Lewis. It's Day-Lewis's sixth nomination in the category. He's won the award three times previously, including for his work in Anderson's There Will Be Blood. If Day-Lewis were to win again this year, he'd join Katharine Hepburn as the only people ever to win four acting Oscars. It'd be a fitting end to a career that Day-Lewis says is over.Support the show: http://www.wnpr.org/donateSee omnystudio.com/listener for privacy information.

In this episode From dreams of running a five-star hotel to the reality of running a five-star bank, Ashok Vaswani, the CEO of Barclays UK, speaks with Simon Taylor about culture, digital transformation challenges and opportunities, frontline empowerment and how Simon might be able to buy a Lamborghini in the future. “We touch 24 million customers in the UK, so 63 million people, if you humour me, and say 15 million less than 15 years of age, that leaves 48, we touch one out of every two people in the UK. Now, that's an awesome position to be in, right?“ “I've now started having dinners with CEOs of other businesses, other industries, corporate clients of ours, and saying, “Hey, you guys are big, big in your-,” you know, people like British Airways, AIG, GE, Day Lewis, all these big companies, and say, “You guys are struggling with the same thing, we're struggling with the same thing, can we actually talk together and, you know, do stuff.”” Enjoying FinTech Insider? Tell a friend about us and please leave us a review on iTunes. The post Ep238 – Ashok Vaswani, CEO of Barclays UK appeared first on 11:FS.

Tamasin chose Bach's Brandenburg 6 and Rise and Fall by Fireflies.