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6 episodes with dead poet
2 episodes with dead poet
2 episodes with dead poet
2 episodes with dead poet
2 episodes with dead poet
2 episodes with dead poet
2 episodes with dead poet
2 episodes with dead poet
In this episode, the boys get serious when discussing the recent challenges for the Hispanic supporters of Nashville SC. And they also get a bit salty over some tough criticism from the pros on social media. And they drink beer. They review a solid Johnny Perez performance in the Open Cup game, and they enjoy the sweet revenge over Charlotte FC in the weekend's big win. And they drink beer. The boys share the Nashville connection to Dead Poet's Society and discuss their favorite compilation albums from the 90's. And they drink beer. They've got hot takes about how Nashville will soon be overtaking the big pink elephant, and they also drink beer. And then they break out the crystal balls to make predictions about the upcoming matches versus the Red Bulls and DC United. And they drink beer.
He observed our society from up close as an advertising man -- and then became an iconic storyteller on Twitter. Ramakrishna Desiraju aka Ramki joins Amit Varma in episode 415 of The Seen and the Unseen to talk about his journey, and all that it taught him. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Ramakrishna Desiraju aka Ramki on LinkedIn and Twitter. 2. Cartwheel Creative Consultancy. 3. Selected legendary threads by Ramki. 4. Ramki's commercial for Kotak Mahindra Bank featuring Ranveer Singh. 5. Celluloid Man -- Shivendra Singh Dungarpur. 6. The Secret Life of Walter Mitty -- James Thurber. 7. Mungerilal Ke Haseen Sapne -- Prakash Jha. 8. All We Imagine as Light -- Payal Kapadia. 9. Heere Ko Kya Pata -- SBI Life Insurance commercial by Prasoon Pandey. 10. The Prem Panicker Files — Episode 217 of The Seen and the Unseen. 11. Dead Poet's Society -- Peter Weir. 12. The Spectacular Life of Prahlad Kakar -- Episode 414 of The Seen and the Unseen. 13. Rumble Fish -- Francis Ford Coppola. 14. John Collison's tweet on the world being a museum of passion projects. 15. The Fisher King -- Terry Gilliam. 16. The Grand Central Station scene from The Fisher KIng. 17. The Wheel commercial with Govinda. 18. Alchemy: The Surprising Power of Ideas That Don't Make Sense -- Rory Sutherland. 19. Hausla Hai Toh Ho Jayega -- Kotak commercial. 20. Anora -- Sean Baker. 21. Dr Seuss, Roald Dahl and John le Carre on Amazon. 22. The Grapes of Wrath -- John Steinbeck. 23. Perfect Days -- Wim Wenders. 24. Dance Dance For the Halva Waala — Episode 294 of The Seen and the Unseen (w Jai Arjun Singh and Subrat Mohanty). 25. Chhannulal Mishra on Spotify and YouTube. Amit Varma and Ajay Shah have launched a new course called Life Lessons, which aims to be a launchpad towards learning essential life skills all of you need. For more details, and to sign up, click here. Amit and Ajay also bring out a weekly YouTube show, Everything is Everything. Have you watched it yet? You must! And have you read Amit's newsletter? Subscribe right away to The India Uncut Newsletter! It's free! Also check out Amit's online course, The Art of Clear Writing. Episode art: ‘Waves' by Simahina.
It's the height of Kids Are Idiots Month–also known as Teacher Month–here at OR WHATEVER MOVIES with DEAD POET'S SOCIETY, a movie, not about desk sets, but throwing desk sets and letting desk sets find their intended purposes. Contains spoilers. Thank you for listening! www.orwhatevermovies.com 818-835-0473 orwhatevermovies@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices
Most people know Robert Sean Leonard from his role as Dr. James Wilson in the medical drama House, or his star turn as a young man in Dead Poet's Society (1989) with Robin Williams, Ethan Hawke and others. Now, Leonard appears as Jerry, the best friend of Robert (played by Ian Barford) and who is […]
Just turned 50! I share three books from dude's at 50, reinterpret a scene from Dead Poet's and offer a Bible verse. Carpe Diem!
Grab some tissues, Pixie Dusters, because this week's selection of Robin Williams films are filled with emotional life lessons. Today you'll hear a breakdown of "Dead Poet's Society," "Good Will Hunting," and "What Dreams May Come." These films are all beautiful and heartbreaking in their own unique ways, and definitely worth a watch. But Dan might be banned from suggesting movies for a while... Follow your new Disney besties on Instagram @pixiedusttwinspodcast and on TikTok @pixiedusttwinspodcastFollow Dan, honorary third host of the "Pixie Dust Twins" Podcast, and King of the Manifestos: @Dantaastic on Instagram and YouTubeHave ideas for the show? Want to be a guest? Send them a message on Instagram!Rant Radio is LIVE! Call 844-857-7268 and leave your rant today. Check out LimitlessBroadcastingNetwork.com for all of our podcasts, subscriptions, and to pick up some awesome merch!
Introduction: Don't settle for being unheard. Dispelling Ignorance: Toilet paper roll 2:53 “Bangs are cool and mullets are not” 4:00 Ryan's stupid situationship that made Amy cry from laughing so hard. “ It was like agreeing to build a birdhouse, only to discover halfway through that you're actually constructing a full-scale replica of the Taj Mahal... out of duct tape and optimism”. 5:55 Reconnecting through generations. 7:20 I ran into teachers through the years and reflected on how high school connects to real life. 8:46 Fitting in while in high school, we don't just fit into ONE box. 9:45 Connect with others 10:50 Adapting to the Ever-Changing Life 11:35 The Need for the Trades 13:16 Local 701 in Aurora offers a training center for mechanics. 16:33 January and July start times: Submit application at any time: https://local701training.org/ 17:42 Education and career paths. Don't think what we learn in school isn't relevant to life: persuasive essays, for example. 19:41 Writing is your voice. 19:54 Lessons from a Union Rep-The Power of Negotiation 22:05 The Life of a Mechanic 25:00 Rusty Bolt metaphor 25:20 Undercover Boss 26:40 Process is Key 27:03 Dead Poet's Society 27:14 Grow ye roses buds while ye may. 27:54 Questioning Authority 28:19 Exercising my right not to walk. 29:10 Check yourself as a parent who makes their kid grind too hard. 29:32 Independent Thought is key 31:42-3-2-1 Three things every worker/person needs to know How to say no When to walk away Power of collective action Two Life Lessons Ask Questions (even the hard ones) Mistakes are Part of the Process-this is when you learn the most One Thing to Never Forget Your Community Matters Where Can I Find Ryan? X:@ryan_haehnlein, email: ryanh@mech.org Where Can I Find Amy? www.amyperras.com Linkedin: Amy Perras Twitter: @perras_scope IG @aintgonnabenostupid Tik Tok @aintgonnabenostupid Ain't Gonna Be No Stupid Woman (Book) https://amzn.to/2Np4aRj Ain't Gonna Be No Stupid podcast https://spoti.fi/2Nt4nTm Ain't Gonna Be No Stupid YouTube Channel https://bit.ly/3fT6v31 Coaching Session https://tinyurl.com/perrasscoping --- Support this podcast: https://podcasters.spotify.com/pod/show/aintgonnabenostupid/support
Rival Sons, The Hellacopters, Ekkstacy, Pogo Car Crash Control, Julien Baker, Dead Poet society, Tom Meighan en singles…
Moody Movies: Foe (2023), Memoir of a Snail (2024), Us (2019), Tig (2019), Dead Poet's Society (1989), The Blackcoat's Daughter (2015).Welcome back to Moody Movie Club! In this episode, Kylie and Elliott refuse to leave their wife with a robot, question when trauma is "too much", reflect on the trickiness of expectations, discuss what makes a documentary truly great, and feel the English teacher love.Follow along onInstagram: @moodymovie.clubLetterboxd: kylieburton Letterboxd: ElliottKuss Hosted on Acast. See acast.com/privacy for more information.
Steve interviews Oscar-winning screenwriter Tom Schulman, who won his Academy Award for "The Dead Poet's Society," but also wrote the comedy classics "What About Bob?" and "Honey, I Shrunk the Kids."
Radical is a Mexican film based on real-life, following in the footsteps of To Sir With Love, Dead Poet's Society and Dangerous minds. An inexperienced teacher arrives at a poverty-stricken school and turns its fortunes round. A world-wide favourite, it was the most popular film at last year's Sundance Festival.
A reminder that you can support See Also on Patreon!As a member of the Hogg Hive, you'll get:Ad-free versions of every See AlsoA minimum of 6 extra ad-free episodes of See Also every year, including over the holidays and next weekFurther discounted codes for live showsOur eternal love, duhDescribed as "Dead Poet's Society meets Clueless", The Hairy Bird is a 1998 film written and directed by Sarah Kernochan. Inspired by her time as a student at the Connecticut girls' boarding school Rosemary Hall in the 1960s, the film follows new student Odette Sinclair (Gaby Hoffman) as she meets the ICONIQUE headmistress Miss McVane (Lynn Redgrave) and falls in with a new clique led by Kirsten Dunst's Verena Von Stefan. No sooner is Odie welcomed in than their friend Tweetie (my girl Heather Matarazzo) overhears the school board's plans to merge Miss Godard's into a co-ed school with the nearby St Ambrose Academy. This sets the films antics into motion, pits the boy crazy Tweetie and Tinka, an aspiring "actress-folk singer-slut", against Verena and brainiac Momo (our girl Merritt Wever) and eventually leads Odie to stage a sit-in to demand the girls at Miss Godard's have a voice in the future of their school.Brodie is joined by her bff Anton De Ionno to discuss the sad saga behind this film's release, its legacy in our lives and many spiritual connections to Gilmore Girls.See AlsosHaley Mlotek's piece in MetrographInterview with Sarah Kernochan in Business Insider + in Flashback Films26 years before The Holdovers, Disney buried the best boarding school comedyPeter Biskind's 2004 book Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent FilmAnton recommendsAn Unmarried WomanLove Is a Drag: For Adult Listeners Onlydry-humping Hosted on Acast. See acast.com/privacy for more information.
Carpe Diem or Seize the day is quote made famous by Roman poet Horace. It's also the title of the 1986 film starring Robin Williams, and mentioned in several of his other famous films including; Hook, Mrs Doubtfire and Dead Poet's Society. Our mutual love and appreciation for the late great actor, acts as a gentle vehicle for both the harrowing heaviness and belly laugh hilarity of this episode. Grace Tame is a former Australian of the year and a strong and powerful activist and advocate for survivors of sexual abuse. As a survivor herself, she believes that ‘your truth is your power'. Despite everything she's endured, Grace's zest for life and sense of humour is unwavering. Mark Humphries is a comedian, writer, actor, political satirist, and former quiz show host. He was a regular on the ABC's Insiders, The Roast and 730. He is the current host of the very funny ‘6:57pm News' on channel 7. Trigger Warning: Listeners and viewers should know that this episode discusses issues of child sexual abuse and disordered eating.In this episode we discuss:-The extremity and complexity of the sexual abuse Grace endured as a 15 year old, including the horrific rituals used to groom and control her.-The byproduct, when our empathy for others is far greater than it is for ourselves.-The power of connecting vulnerably with people we feel safe with, to alleviate shame.-How Mark political satirism and comedy is often sparked by anger and disappointment.-The online vitriol they've both received (anonymous opinions or networked abuse), how that's affected them and how they've handled it.-The wonderful way blending nature and exercise helps to free the mind.-Mark finally getting one up on an entitled shopper.-How anorexia has impacted Grace's life and journey.-Mark's incredible story where the onset of his physical ailments were simply his bodies stress responses telling him he had to make significant life changes.-The importance of having the love of great supportive friends through divorce.-Ensuring life has laughter, great friendships, and music from the 60's and 70's.We got our karaoke on with some iconic BeeGees impersonations, and bonded on both divorce and a mutual love for the brilliance of Robin Williams. Subscribe to our YouTube channel to WATCH the full episode @gobehindthemaskFollow us on Instagram and TikTok @gobehindthemaskVisit our website for more information and register to begin YOUR journey behind the mask.www.gobehindthemask.com.au Hosted on Acast. See acast.com/privacy for more information.
The Alchemist suck deep the marrow of life in Dead Poet's Society. Key Elements: Desk Set, Nuwanda, Oh Captain Support the Show on Patreon: https://www.patreon.com/filmalchemistpod Check out our Movies and join the Misfit Parade: https://www.misfitparade.net/ Youtube: https://youtu.be/1k97_1R0c-U
Today the Oscar Grouches are back on the original screenplay train as they discuss the next winner "Dead Poet's Society"
It's a ritual involving the summoning of a ghost. What could possible go wrong? Author unknown This story can be found on Creepypasta.wikia.com and is protected by creative commons license.
Three Years Later and Dead Poet's Society has FINALLY come to An Evening At the Movies. Kasey and Amanda are joined by their Reaper partner in crime Shana
While more bitter than its clear precursor, Dead Poet's Society, Alexander Payne's The Holdovers has a softness and nostalgia that his previous school-based film, Election, does not.
Savage reflects on a story ahead of its time "The Mugger and The Beatnik Poet" from his 2002 book A Savage Nation. In this incredible chapter, he predicted the decline of once great American cities. He laments recent events, including American troops being killed in the Middle East, and expresses fear that these events will drag America into ongoing conflicts. He then shares poems expressing despair and queries the relevance of prayers during chaotic times. He acknowledges the belief in prayer by historical figures like General Patton. Then, he speculates on the integrity of the legal system after a court ordered Trump to pay $83 million to E. Jean Carroll. He emphasizes the significance of children learning to have faith in God and to obey his Commandments. How can we stop the weakening of America's cultural foundations and the rise of radical leftist ideologies? He warns against Democratic socialism, particularly figureheads like Bernie Sanders, a modern day Trotskyite. Savage urges the importance of education, awareness, and resistance against the threats we face. Learn more about your ad choices. Visit podcastchoices.com/adchoices
Happy 2024 I rode through Maryland and Delaware during fall to search for the Blair Witch and visit the school featured in the Dead Poet's Society. Along the way, I had some ups and downs and learned some valuable tips for planning a tour and riding in cold weather.
Norman and I welcome a great bay area actor, Adam KuveNiemann, who was last seen in New Conservatory Theatre Center's Before The Sword, a wonderful show that reminded me a great deal of the Dead Poet's Society. Adam is now in ACT's A Christmas Carol and we're happy he took time to be with us. Adam talks about his upbringing, his connection to theatre, and where he sees himself in the future. We also want to congratulate Adam for being a recent member of Actor's Equity! You can find out more about Adam via his website: https://www.adamkuveniemann.com You can also reach him on Instagram: @adam.kuveniemann We also want to thank Charles Blades Barbershop for sponsoring The Yay! Charles Blades Barbershop is located at 180 Second Street in downtown Oakland. It's a very cool, relaxing place where you can get your cuts and they'll even serve you a complimentary drink. Charles is also selling men's hair products on his website https://cbbgroominingproducts.myshopify.com Hair Gels, Pomades, Shampoos and Conditioners. Hop online, give the products a try and support minority businesses like my man Charles Blades. SHOWS: A Christmas Carol (ACT) Dec 6 – 24 Adam Kuveniemann is in the show https://www.act-sf.org/whats-on/2023-24-season/a-christmas-carol/?gad_source=1 It's A Wonderful Life (Ross Valley Players) Nov 17 – Dec 17 Evan Held (Episode 226) is in the show http://www.rossvalleyplayers.com/its-a-wonderful-life/ A Very Hitchcock Christmas (Playground SF) Dec 10, 16-17 Norman Gee is directing “Life Sleigh – Like Lifeboat, but with a Sleigh, Get It?” Jim Kleinmann (Episode 178) is directing “Santa On A Rope” Jeffrey Lo (Episode 153) has written “A Stranger on a Holiday Train” Katja Rivera (Episode 168) is directing “How the Bates Almost Stole Christmas” Linda Amayo-Hassan (Episode 83) is directing “A Stranger on a Holiday Train” Ely Sonny Orquiza (Episode 139) is directing “A Window-ful Christmas” Krystle Piamonte (Episode 97), Letitia Duarte (Episode 119), Gwen Loeb (Episode 73) Maryssa Wanlass (Episode 93) and Khary Moye (Episode 45) are in the show https://playground-sf.org/hitchcockchristmas/ Sleeping Beauty (Presidio Theatre) Dec 1 – 30 Eiko Yamamoto (Episodes 120 and 225) and Sharon Shao (Episode 176) will be in this show https://www.presidiotheatre.org/show/2023sleepingbeauty/ The Man Who Saved Christmas (Chanticleers Theatre) Dec 1 – 17 Curtis Manning aka CJ Strickland (Episode 216) is in the show https://www.chanticleers.org Home For The Holidays (Contra Costa Civic Theatre) Dec 8-10 and 15-17 Lamont Ridgell (Episode 122) and Anita Viramontes (Episode 121) are in the show https://ccct.org The Play That Goes Wrong (San Jose Stage) Extended until Dec 17th Nick Mandracchia (Episode 43) is in the show John Rhys Williams (Episode 158) is in the show https://www.thestage.org/the-play-that-goes-wrong Reg Clay (@Reg_Clay) Norman Gee (@WhosYrHoosier)
This week we take on two classic films starring one of the greats - Robin Williams. Abbie joins us on this wild ride bringing all the OGs back together again.
It's been quite a while since we released a movie episode, but you know the bois over at Scuttlebutt are here to insert some chaos! The girls chat with Morphius, Hermes, and Theron about 1989's "Dead Poet's Society", among other random topics, including but not limited to: Who the fuck is the Pioneer Woman? Are Karyn's nieces secretly listening to the podcast? Wtf is with all these creepy secret societies at educational institutes? And is Morphius really "going to the park?" Tune in for a wild time featuring some of our OG pod besties.
Back around the era when this came out in the late '80's/early '90's it felt like there was a new heroic teacher drama (Dead Poet's Society, Lean On Me) being released every six months. This particular inspirational drama was directed by Ramon Menendez and might be one of the best of that group. It's based upon the true story of Jaime Escalante and his advanced math class at Garfield High School in East Los Angeles. Escalante was a math whiz and he taught his students not only how to be math whizzes but eventually AP Calculus. And we follow all of their stories towards clearing this difficult academic hurdle. Edward James Olmos stars as Professor Escalante alongside Lou Diamond Phillips, Rosanna DeSoto, Andy Garcia, and several other talented young actors. Host & Editor: Geoff GershonProducer: Marlene Gershon https://livingforthecinema.com/Facebook:https://www.facebook.com/Living-for-the-Cinema-Podcast-101167838847578Instagram:https://www.instagram.com/livingforthecinema/Letterboxd:https://letterboxd.com/Living4Cinema/
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.
TRIGGER WARNING this week, y'all. We are pulling into the Deva-Station as we unpack Dead Poet's Society (1989). Carie gets an earful from Ross, who had never seen the movie before and was not properly prepared. Ross drools over Robert Sean Leonard and his big, gooey heart. The siblings are also transported back to a time in their own lives when poetry and literature seemed to be the most important thing in life. Apple iPad Air Commercial ft. Robin Williams SUPPORT US ON PATREON!
It's Trivia Night!, the weekly trivia show where host Philip Trickey brings you a brand-new game from Crowdpurr's 100% original trivia library.
Actor Kurt Leitner played Lester, one of the students in the classroom of Dead Poet's Society, a film that was highly influential for Matt. Kurt tells us about going from being a body double on set to becoming one of the supporting poets, organically coming up with the name Lester for his character as well as the character name of Spaz, his chicken walk making it into the trailer, and why his character didn't stand on a desk in support of Mr. Keating. Plus, we hear about the truly once in a lifetime experience of being directed in a playground atmosphere by Peter Weir and improvising with Robin Williams. Hosted on Acast. See acast.com/privacy for more information.
Actor Kurt Leitner played Lester, one of the students in the classroom of Dead Poet's Society, a film that was highly influential for Matt. Kurt tells us about going from being a body double on set to becoming one of the supporting poets, organically coming up with the name Lester for his character as well as the character name of Spaz, his chicken walk making it into the trailer, and why his character didn't stand on a desk in support of Mr. Keating. Plus, we hear about the truly once in a lifetime experience of being directed in a playground atmosphere by Peter Weir and improvising with Robin Williams. Hosted on Acast. See acast.com/privacy for more information.
In this episode of the Transform Your Life podcast, I talk about the importance of living your own purpose in life rather than conforming to the expectations and ideals of others. I talk about how we can get stuck in careers, relationships, and situations that don't align with our true desires because we seek the approval of our parents, partners, and society. I ask you to explore whether you are truly living a purposeful, fulfilling life on your own terms or living your life for others. As I ask the last question, I think back to the 1991 movie, The Dead Poet's Society, and I think about the movie character named Neil. He wanted to pursue acting and loved it, but his stern father wanted him to go to Harvard Medical School. Neil hated the idea of medical school and found it soul-crushing, but he agreed. You'll have to watch the movie for the story's conclusion, but it's not uncommon for people to deny their own hopes, wishes, wants, and dreams and instead live their lives to please their parents. Often times cultural and familial pressures guide people down a path that doesn't fulfill them, and they live decades misaligned from their own purpose while trying to please others. So, it's important to ask whether you are living your own purpose or someone else's. Another purpose-robbing action that people often get into is seeking validation from others. This is a surefire way to live an unfulfilled life. For example, a friend of mine was constantly motivated by a desire for his father's approval, and that led him down an obsessive path of constantly trying to prove himself. This behavior disconnects you from your higher self and obscures your true purpose. You can't create an authentic life while dependent on external validation. I have found that the key to living your purpose is surrendering to your destiny and innate talents. This involves getting quiet, listening to your intuition, and taking aligned action. We must focus on the importance of being grateful and on contribution rather than achievement. Here are four key points you may want to keep in mind: Surrender to your innate talents and destiny. Listen to your intuition and take aligned action. Express gratitude and focus on contributing. Achievements will naturally follow purposeful contributions. You must examine whether you are living someone else's purpose or your own. If you are not thrilled by how you spend your days, you are likely conforming to others' expectations. I challenge you to get creative, listen within, and take steps each day to live your own purpose. Transformational takeaway: When you are living your purpose, you are contributing your talents to activities that light you up, and you will experience true joy and fulfillment. Your key is being brave enough to live life on your own terms. Just do it. VISIT THE SHOW NOTES HERE FOR MORE: https://www.jimfortin.com/281 LIKED THE EPISODE? If you're the kind of person who likes to help others, then share this with your friends and family. If you have found value, they will too. Please leave a review on Apple Podcasts so we can reach more people. Join the conversation inside the Jim Fortin Podcast Community Facebook group HERE. OTHER RESOURCES YOU MAY ENJOY: My Instagram account Podcast Facebook Community Click here to send your questions Thank you for listening! With Gratitude, Jim Fortin
The Age is coming to an end, my friend. Twilight has fallen. But a little light still remains...== CAST ==Game Master - https://twitter.com/GrimJack21502Casey Mitchell - https://twitter.com/unMadeGamingShannon Locke - https://twitter.com/TheMetamancerGeorge Butts - https://twitter.com/BolognaSlapJerry Baker - https://twitter.com/MisterBittersCARobert Ott - https://twitter.com/KWFragsEditing by @unMadeGamingMusic / Instrumental by Aries Beats @ https://www.youtube.com/watch?v=m1At_G-08HQAtari Twilight is an unMadeGaming production. If you would like to learn more about the world of Atari Twilight and get some behind-the-scenes looks, please join Patreon at Patreon.com/uMGPodNetwork. Thank you for joining us on this 80's throwback, and we'll see you next time on Atari Twilight.
DJ GLIBSTYLEZ CONNECTS https://linktr.ee/dj_glibstylez https://www.twitch.tv/dj_glibstylezhttps://www.youtube.com/channel/UCo-YVgHQr9YF6o3dqygEYyghttps://www.instagram.com/dj_glibstylez/https://www.facebook.com/donnie.knight/https://www.facebook.com/djglibstylez/ CHECK OUT ALL ZIZ's MUSIC - https://zizmusicyall.bandcamp.com/ Ziz Connects https://youtube.com/c/Zizyall https://www.4dadjsradio.com https://instagram.com/4dadjs_radio/ https://www.instagram.com/ziz_yall/ https://linktr.ee/Ziz134 DONATE TO THE SHOW ON CASH APP - $Letschopitupwziz ****You have a small or large business and would like to sponsor the show, contact us through this email- tapinradiowziz@gmail.com**** Tracklist: DJ GlibStylez x Reese Tanaka - BBS INTRO 2023 A Tribe Called Quest - Melatonin (MiLKCRATE Remix) ELDAHRADO - Black, Brown & Yellow (ft. AP Da Overlord) Indigo Phoenyx - Sufi Sword (ft. Bannah Prod. by Goldfingzbeatz) Sicknature - Lonely Den (ft. Lateb) John Robinson x Figub Brazlevic - F.L.O.S.S. Sela Ninja x Subtex - Disturb The Peace (ft. Prestigious) Wisdm Uno - Narcoleptic The Knockaz - BarBarianz J.Robb - DONATI Krookid Hooks x Status The Marlboro Man x Young Zee - Three Midgets in a Trenchcoat Alcynoos x Parental x Loop.Holes - Grand Scheme (ft. Ill Conscious & Kid Abstrakt) Rob Gonzales x J. Knodic - Love Chillow x Dj Grazzhoppa - All Of That (ft. John Robinson) Mike Titan x The Dead Poet'z Society - The Proof (cuts by Mista Sinista) Konflik x NasteeLuvzYou - Shine Remix (ft. El Da Sensei) Justo x DK x Uncle Fester - Survivors Guilt (ft. Poe Mack) Heliocopta x Figub Brazlevic - Erstens Peti, Zweitens Free Efeks - Its Only Right Citizen Nuggz x Mimski - Eggs Bambägga x RLLBTS - 4 Zitronen TUAMIE - playstation games LA The Rapper - On Point DJ Applejac x Stan Smith - No Jewelz BudaMunk x ILL Conscious - Tamuramaro (ft. Vega7 The Ronin & DJ Tmb) DjProofbeatz - Vintage Ish Jizzm High Definition x Navi The North - On My Own High (ft. Okie Doke) --- Send in a voice message: https://podcasters.spotify.com/pod/show/4dadjsradio/message
I present to you.. Vol.168 of the INFAMOUS Boom Bap Soul Mix Series! DON'T FORGET TO HIT THAT FAVORITE BUTTON!! As always the vibes are underground, experimental, chill, soulful, lo-fi boom bap beats & treats! SEE TRACKLIST in comment section and PLEASE SHOW THESE ARTISTS SOME LOVE on social media, Soundcloud, Bandcamp, Spotify & ITunes! Salute to everyone that supports this mix series! If you're feeling the vibes FAVORITE REPOST & SHARE this mix! Direct link to previous episodes to this mix series: https://www.mixcloud.com/glibstylez/playlists/chilled-hip-hop-soul-lo-fi-beats/ Follow me on Blast Radio https://www.blastradio.com/djglibstylez Follow me on Twitch https://www.twitch.tv/dj_glibstylez Tracklist: DJ GlibStylez x Reese Tanaka - BBS INTRO 2023 A Tribe Called Quest - Melatonin (MiLKCRATE Remix) ELDAHRADO - Black, Brown & Yellow (ft. AP Da Overlord) Indigo Phoenyx - Sufi Sword (ft. Bannah Prod. by Goldfingzbeatz) Sicknature - Lonely Den (ft. Lateb) John Robinson x Figub Brazlevic - F.L.O.S.S. Sela Ninja x Subtex - Disturb The Peace (ft. Prestigious) Wisdm Uno - Narcoleptic The Knockaz - BarBarianz J.Robb - DONATI Krookid Hooks x Status The Marlboro Man x Young Zee - Three Midgets in a Trenchcoat Alcynoos x Parental x Loop.Holes - Grand Scheme (ft. Ill Conscious & Kid Abstrakt) Rob Gonzales x J. Knodic - Love Chillow x Dj Grazzhoppa - All Of That (ft. John Robinson) Mike Titan x The Dead Poet'z Society - The Proof (cuts by Mista Sinista) Konflik x NasteeLuvzYou - Shine Remix (ft. El Da Sensei) Justo x DK x Uncle Fester - Survivors Guilt (ft. Poe Mack) Heliocopta x Figub Brazlevic - Erstens Peti, Zweitens Free Efeks - Its Only Right Citizen Nuggz x Mimski - Eggs Bambägga x RLLBTS - 4 Zitronen TUAMIE - playstation games LA The Rapper - On Point DJ Applejac x Stan Smith - No Jewelz BudaMunk x ILL Conscious - Tamuramaro (ft. Vega7 The Ronin & DJ Tmb) DjProofbeatz - Vintage Ish Jizzm High Definition x Navi The North - On My Own High (ft. Okie Doke)
This week Kay & Rob talk about how the process of writing films that aren't necessarily written, and to help with that, we have an interview with returning guest, Jeremy Lalonde, whose movie, “Ashgrove”, is currently on tour, and in theaters. Our Weekly Resource: SoCreate's screenwriting Beta is out and they are looking for folks to try out their program, so feel free to take advantage of a free screenwriting program. Later listeners coming to this – we're sorry, it may not work for you – but for those of you listening to this hot and fresh, if you're in the market for a new screenwriting program, click the link and give SoCreate a whirl. They are not paying us to say this, this is just us being the tip of the spear, as per usual. Notes From the Episode: Zack's Original Instagram video (for our Twitter Drama Bumper) Variety Article about WGA negotiations on AI (updated with WGA's response) Welcome to the No Budget Era article on Esquire James vs His Future Self available on Prime How to Plan an Orgy in a Small Town available on Plex Little Monsters, available on Hulu Jeremy's other Podcasts with Rob: Witches of Eastwick, Made in Heaven, Dead Poet's Society Jeremy's Twitter Jeremy's Instagram Rob's YouTube Channel How to Make a Movie for $1000 Kay's Twitter Rob's Twitter Zack's Twitter Email us(!)
Episode 267"Rain Man"Cinematographer: John Seale.John Seale has been nominated for 5 Academy Awards for best cinematography. These included "Rain Man", "Mad Max: Fury Road", "Cold Mountain", "Witness" and winning for "The English Patient." Some of John's other works include "Dead Poet's Society", "The Firm", "The Talented Mr. Ripley", "The Perfect Storm", "Harry Potter and the Sorcerer's Stone" and so many more. Using the work "Iconic" would be very appropriate in this interview.John and I talk about some of his classic works, people he's met along the way and John shares some wonderful stories. Just a marvelous interview. Welcome, John Seale.Monday Morning Critic: Instagram, TiKTok, YouTube and Facebook.Twitter:@mdmcriticwww.imdb.com/title/tt12597724/www.mmcpodcast.comContact: mondaymorningcritic@gmail.com
Poet, novelist, translator, journalist, crime fiction writer, children's book author, teacher, math tutor: now here is a man who contains multitudes. Jerry Pinto joins Amit Varma in episode 314 of The Seen and the Unseen to talk about his life and learnings. (FOR FULL LINKED SHOW NOTES, GO TO SEENUNSEEN.IN.) Also check out: 1. Jerry Pinto on Instagram, Amazon and his own website. 2. Em and the Big Hoom -- Jerry Pinto. 3. The Education of Yuri -- Jerry Pinto. 4. Murder in Mahim -- Jerry Pinto. 5. A Book of Light -- Edited by Jerry Pinto. 6. Baluta -- Daya Pawar (translated by Jerry Pinto). 7. I Have Not Seen Mandu -- Swadesh Deepak (translated by Jerry Pinto). 8. Cobalt Blue -- Sachin Kundalkar (translated by Jerry Pinto). 9. The Life and Times of Shanta Gokhale -- Episode 311 of The Seen and the Unseen. 10. ‘Sometimes I feel I have to be completely invisible as a poet' -- Jerry Pinto's interview of Adil Jussawalla. 11. A Godless Congregation — Amit Varma. 12. The Rooted Cosmopolitanism of Sugata Srinivasaraju — Episode 277 of The Seen and the Unseen. 13. The Big Questions — Steven E Landsburg. 14. Unlikely is Inevitable — Amit Varma. 15. The Law of Truly Large Numbers. 16. The Gentle Wisdom of Pratap Bhanu Mehta — Episode 300 of The Seen and the Unseen. 17. Young India — Episode 83 of The Seen and the Unseen (w Snigdha Poonam). 18. Dreamers — Snigdha Poonam. 19. The Loneliness of the Indian Man — Episode 303 of The Seen and the Unseen (w Nikhil Taneja). 20. The History Boys -- Alan Bennett. 21. The Connell Guide to How to Write Well -- Tim de Lisle. 22. Thinking Better: The Art of the Shortcut -- Marcus Du Sautoy. 23. Dead Poet's Society -- Peter Weir. 24. A Mathematician's Apology -- GH Hardy. 25. The Man Who Knew Infinity -- Robert Kanigel. 26. David Berlinski and Martin Gardner on Amazon, and Mukul Sharma on Wikipedia.. 27. Range Rover -- The archives of Amit Varma's column on poker for The Economic Times. 28. Luck is All Around -- Amit Varma. 29. Stoicism on Wikipedia, Stanford Encyclopedia of Philosophy and Britannica. 30. House of the Dead — Fyodor Dostoevsky. 31. Black Beauty -- Anna Sewell. 32. Lady Chatterley's Lover -- DH Lawrence. 33. Mr Norris Changes Trains -- Chistopher Isherwood. 34. Sigrid Undset on Amazon and Wikipedia. 35. Some Prefer Nettles -- Junichiro Tanizaki. 36. Things Fall Apart — Chinua Achebe. 37. Jane Austen and Thomas Hardy on Amazon. 38. Orientalism -- Edward Said. 39. Edgar Allan Poe, Nathaniel Hawthorne and Kurt Vonnegut on Amazon. 40. Johnny Got His Gun -- Dalton Trumbo. 41. Selected Poems -- Kamala Das. 42. Collected Poems -- Kamala Das. 43. In Which Annie Gives It Those Ones — Pradip Krishen. 44. Dance Dance For the Halva Waala — Episode 294 of The Seen and the Unseen (w Jai Arjun Singh and Subrat Mohanty). 45. Tosca -- Giacomo Puccini. 46. Civilisation by Kenneth Clark on YouTube and Wikipedia. 47. Archives of The World This Week. 48. Dardi Rab Rab Kardi -- Daler Mehndi. 49. Is Old Music Killing New Music? — Ted Gioia. 50. Mother India (Mehboob Khan) and Mughal-E-Azam (K Asif). 51. A Meditation on Form — Amit Varma. 52. Sara Rai Inhales Literature — Episode 255 of The Seen and the Unseen. 53. Collected Poems — Mark Strand. 54. Forgive Me, Mother -- Eunice de Souza. 55. Porphyria's Lover -- Robert Browning. 56. Island -- Nissim Ezekiel. 57. Paper Menagerie — Ken Liu. 58. Jhumpa Lahiri on Writing, Translation, and Crossing Between Cultures — Episode 17 of Conversations With Tyler. 59. The Notebook Trilogy — Agota Kristof. 60. Amitava Kumar Finds the Breath of Life — Episode 265 of The Seen and the Unseen. 61. The Blue Book: A Writer's Journal — Amitava Kumar. 62. Nissim Ezekiel on Amazon, Wikipedia and All Poetry. 63. Adil Jussawalla on Amazon, Wikipedia and Poetry International. 64. Eunice de Souza on Amazon, Wikipedia and Poetry International. 65. Dom Moraes on Amazon, Wikipedia and Poem Hunter. 66. WH Auden and Stephen Spender on Amazon. 67. Pilloo Pochkhanawala on Wikipedia and JNAF. 68. Arvind Krishna Mehrotra on Amazon, Wikipedia and Poetry Foundation. 69. Amar Akbar Anthony -- Manmohan Desai. 67. Ranjit Hoskote on Amazon, Instagram, Twitter, Wikipedia and Poetry International. 71. Arundhathi Subramaniam on Amazon, Instagram, Wikipedia, Poetry International and her own website. 72. The Red Wheelbarrow -- William Carlos Williams. 73. Mary Oliver's analysis of The Red Wheelbarrow. 74. A Poetry Handbook — Mary Oliver. 75. The War Against Cliche -- Martin Amis. 76. Seamus Heaney on Amazon, Wikipedia and Poetry Foundation. 77. The world behind 'Em and the Big Hoom' -- Jerry Pinto interviewed by Swetha Amit. 78. Jerry Pinto interviewed for the New York Times by Max Bearak. 79. Salman Rushdie, Amitav Ghosh and GV Desani on Amazon. 80. Episodes of The Seen and the Unseen on the creator ecosystem with Roshan Abbas, Varun Duggirala, Neelesh Misra, Snehal Pradhan, Chuck Gopal, Nishant Jain, Deepak Shenoy and Abhijit Bhaduri. 81. Graham Greene, W Somerset Maugham and Aldous Huxley on Amazon. 82. Surviving Men -- Shobhaa De. 83. Surviving Men -- Jerry Pinto. 84. The Essays of GK Chesterton. 85. The Life and Times of Nilanjana Roy — Episode 284 of The Seen and the Unseen. 86. City Improbable: Writings on Delhi -- Edited by Khushwant Singh. 87. Bombay, Meri Jaan -- Edited by Jerry Pinto and Naresh Fernandes. 88. The Life and Times of Urvashi Butalia — Episode 287 of The Seen and the Unseen. 89. Films, Feminism, Paromita — Episode 155 of The Seen and the Unseen (w Paromita Vohra). 90. Wanting -- Luke Burgis. 91. Kalpish Ratna and Sjowall & Wahloo on Amazon. 92. Memories and Things — Episode 195 of The Seen and the Unseen (w Aanchal Malhotra). 93. Ashad ka Ek Din -- Mohan Rakesh. 94. Anna Karenina -- Leo Tolstoy (translated by Constance Garnett). 95. Gordon Lish: ‘Had I not revised Carver, would he be paid the attention given him? Baloney!' -- Christian Lorentzen.. 96. Sooraj Barjatya and Yash Chopra. 97. The Life and Times of Mrinal Pande — Episode 263 of The Seen and the Unseen. 98. Don't think too much of yourself. You're an accident — Amit Varma. 99. Phineas Gage. 100. Georges Simenon on Amazon and Wikipedia.. 101. The Interpreter -- Amit Varma on Michael Gazzaniga's iconic neuroscience experiment. 102. The Life and Times of Abhinandan Sekhri — Episode 254 of The Seen and the Unseen.. 103. Madame Bovary -- Gustave Flaubert. 104. Self-Portrait — AK Ramanujan. 105. Ivan Turgenev, Ryu Murakami and Patricia Highsmith on Amazon. 106. A Clockwork Orange -- Anthony Burgess. 107. On Exactitude in Science — Jorge Luis Borges. 110. Playwright at the Centre: Marathi Drama from 1843 to the Present — Shanta Gokhale. 111. Kubla Khan -- Samuel Taylor Coleridge. 112. Girish Shahane, Naresh Fernandes, Suketu Mehta, David Godwin and Kiran Desai. 113. The Count of Monte Cristo -- Alexandre Dumas. 114. Pedro Almodóvar and Yasujirō Ozu. 115. The Art of Translation — Episode 168 of The Seen and the Unseen (w Arunava Sinha). 116. The Lives of the Poets -- Samuel Johnson. 117. Lives of the Women -- Various authors, edited by Jerry Pinto. 118. Lessons from an Ankhon Dekhi Prime Minister — Amit Varma. 119. On Bullshit — Harry Frankfurt. 120. The Facts Do Not Matter — Amit Varma. 121. Beware of the Useful Idiots — Amit Varma. 122. Modi's Lost Opportunity — Episode 119 of The Seen and the Unseen (w Salman Soz). 123. Kesavananda Bharati v. State of Kerala. 124. The Importance of Data Journalism — Episode 196 of The Seen and the Unseen (w Rukmini S). 125. Rukmini Sees India's Multitudes — Episode 261 of The Seen and the Unseen (w Rukmini S). 126. Pramit Bhattacharya Believes in Just One Ism — Episode 256 of The Seen and the Unseen. 127. Listen, The Internet Has SPACE -- Amit Varma.. 128. Fixing Indian Education — Episode 185 of The Seen and the Unseen (w Karthik Muralidharan). 129. The Reflections of Samarth Bansal — Episode 299 of The Seen and the Unseen. 130. The Saturdays -- Elizabeth Enwright. 131. Summer of My German Soldier -- Bette Greene. 132. I am David -- Anne Holm. 133. Tove Jannson and Beatrix Potter on Amazon. 134. The Hobbit and The Lord of the Rings -- JRR Tolkien. 135. Darkness Visible: A Memoir of Madness -- William Styron. 136. An Unquiet Mind: A Memoir of Moods and Madness -- Kay Redfield Jamison. 137. Searching for Swadesh -- Nirupama Dutt.. 138. Parsai Rachanawali -- Harishankar Parsai. 139. Not Dark Yet (official) (newly released outtake) -- Bob Dylan.. 140. How This Nobel Has Redefined Literature -- Amit Varma on Dylan winning the Nobel Prize.. 141. The New World Upon Us — Amit Varma. 142. PG Wodehouse on Amazon and Wikipedia. 143. I Heard the Owl Call My Name -- Margaret Craven. 144. 84, Charing Cross Road -- Helen Hanff. 145. Great Expectations, Little Dorrit and Bleak House -- Charles Dickens. 146. Middlemarch -- George Eliot. 147. The Pillow Book -- Sei Shonagon. 148. The Diary of Lady Murasaki -- Murasaki Shikibu. 149. My Experiments With Truth -- Mohandas Gandhi. 150. Ariel -- Sylvia Plath. 151. Jejuri -- Arun Kolatkar. 152. Missing Person -- Adil Jussawalla. 153. All About H Hatterr -- GV Desani. 154. The Ground Beneath Her Feet -- Salman Rushdie. 155. A Fine Balance -- Rohinton Mistry. 156. Tales from Firozsha Baag -- Rohinton Mistry. 157. Amores Perros -- Alejandro G Iñárritu. 158. Samira Makhmalbaf on Wikipedia and IMDb. 159. Ingmar Bergman on Wikipedia and IMDb. 160. The Silence, Autumn Sonata and Wild Strawberries - Ingmar Bergman. 161. The Mahabharata. 162. Yuganta — Irawati Karve. 163. Kalyug -- Shyam Benegal. 164. The Hungry Tide -- Amitav Ghosh. 165. On Hinduism and The Hindus -- Wendy Doniger. 166. I, Lalla: The Poems of Lal Dĕd — Lal Dĕd (translated by Ranjit Hoskote). 167. The Essential Kabir -- Arvind Krishna Mehrotra. 168. The Absent Traveller -- Arvind Krishna Mehrotra. 169. These My Words: The Penguin Book of Indian Poetry -- Edited by Eunice de Souza and Melanie Silgardo. This episode is sponsored by CTQ Compounds. Check out The Daily Reader and FutureStack. Use the code UNSEEN for Rs 2500 off. Check out Amit's online course, The Art of Clear Writing. And subscribe to The India Uncut Newsletter. It's free! Episode art: ‘He is Reading' by Simahina.
Hey Folks! We end January by learning lessons from Robin Williams, we watch Dead Poets Society! - Flicks-ology! --- Send in a voice message: https://anchor.fm/flicks-ology/message
WE'RE ALIVE. After two months of both of our day jobs and personal lives victimizing us, we are back to discuss Dead Poet's Society
This is the second of our 7 episode Holiday Series. Emma is currently in Italy, we've pre-recorded this podcast episode for you to enjoy!There were 7 weeks and 7 episodes, so we thought what better topic than the 7 Chakras of the main Chakra System! During this episode, we're talking creativity, pleasure, joy and the Sacral Chakra.This is what we spoke about during the episodeWhy is creativity important? It's the energy of our souls and the magic juice of life.“Medicine, law, business, engineering, these are all noble pursuits, and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for.” ― Dead Poet's SocietyDo you have a creative outlet that provides that "wow" feeling? If you think you're not a creative person, it is not true!The Sacral Chakra is linked to the level of joy and pleasure that we allow ourselves to experience.A part of being creative is acknowledging and seeing creativity. It doesn't necessarily have to be you. It can be a piece of music that inspires you, like The Beatitudes by Vladimir Martynov.Get your foundations right and then have space for your creativity. Inside MerryBody we have a Chakra Masterclass Series where you can learn different Yoga poses, mudras and mantras to open and activate each Chakra. To access these, you need to be a MerryBody member. Start your 7 day trial here! We would love to hear from you, send us an email to carla@themerrymakersisters.com or emma@themerrymakersisters.com or message us on our Facebook and Instagram accounts @themerrymakersisters.Download our FREE Self Care Checklist and you'll find 50 brand new ideas to practice self care.Always merrymaking,Emma + CarlaP.s if you ever need further help or guidance please contact Lifeline or Beyond Blue. Asking for help is pure courage. Hosted on Acast. See acast.com/privacy for more information.
Hey everyone, after an unplanned hiatus, we're back and we've missed you all terribly! On today's episode we discuss Dead Poets Society, and don't at us, but we both think it's a little overrated. We discuss the amazing Robin Wiliams and do some questionable impressions of him, Anders' hatred of poetry, charcuterie boards, and for some reason a Rosencrantz and Guildenstern style mashup between this film and Flashdance.
Recorded live every Thursday at Hyena's Comedy Nightclub in Fort Worth, Texas. This week we were joined by friend of the Tyler Elliott once again for a certified banger. In the rotating seat we had Paul Smith, Robb Ross, and the baby bird intern himself JP Hinsdale. You can follow Tyler on Instagram at @tylerelliottcomedy and Twitter at @TylerNTyler. Enjoy comrades and cumrags.
This week on Lady History: They didn't read and write poetry because it was cute. They read and wrote poetry because they were members of the human race. Meet three women who were poets: Sappho of Lesbos, Parvin E'tesami, and Edna St Vincent Millay. Seize the day Ladies. Make life extraordinary. Logo by: Alexia Ibarra Editing by: Lexi Simms Music by: Alana Stolnitz A full text transcript of this show, as well as sources, attributions, and further readings, can be found at ladyhistorypod.com Support us on Patreon for just $1: www.patreon.com/ladyhistorypod Follow us on Twitter, TikTok & Instagram: @ladyhistorypod Have a question? A business inquiry? Contact: ladyhistorypod@gmail.com Leave us an audio message for a chance to be featured in the show: anchor.fm/ladyhistory/messages
Rafe goes solo this week to discuss John Keats' Ode on a Grecian Urn. In it we learn that all we know, and all we need to know, is that Beauty is Truth. The discussion takes a trip through the symbols in the poem and how the Things of Old are passed down through time to us and how those things help align our souls to seek the ultimate Good.Along the way, we bump into our old friends Socrates, Plato, and Aristotle and discuss their influence on Augustine and Aquinas. We wrap up with the Carpe Diem admonition from the 1980's movie Dead Poet's Society and discover that Keats' Grecian Urn and the old photos in DPS both speak to the present from the past, encouraging us to align ourselves with the Good and seize the day."Gather ye rosebuds while ye may."
Topics: Point of Education? Political Polarity: Gun control What's the response of the Church? Christians? Thank you: 1517.org Grace Lutheran, Ventura St. James Lutheran, Chicago Concordia Seminary, St. Louis thejaggedword.com Monthly sponsor: Eddie Switek Music/Photo: Joel Allen Hess "I'm falling away"- More on bandcamp Dead Horse One - I love my man Other stuff: Let Me Die a Young Man's Death, Roger McGough Graduation verses: Isaiah 3:17, Galatians 6:11, 2 Timothy 4:13 Dead Poet's Society The Boy Crisis: Why Our Boys Are Struggling and What We Can Do About It, Warren Farrell Ph.D. and John Gray We Have Met the Enemy thejaggedword.com
Welcome back for episode 9 of The Pretty Little Podcast! In this episode, Phoebe and Caroline break down the ninth episode of Pretty Little Liars: The Perfect Storm. They discuss Rosewood High's tornado protocol, Ashley Marin's surprise villain edit, and the odds that Ezra models his life off of both Dead Poet's Society and The Notebook. --- Support this podcast: https://anchor.fm/theprettylittlepodcast/support
Screenwriter Stuart Wright talks with BAFTA award-winning screenwriter Anthony Mullins about one of the most powerful, yet most misunderstood, tools in a writer's toolkit - character arcs. BEYOND THE HERO'S JOURNEY: Crafting Powerful And Original Character Arcs For The Screen is OUT NOWGet it straight from the publisher https://kamerabooks.co.uk/index1.php?imprint=4&isbn=9780857305114 Anthony breaks the discussion down into 5 things about his book:IT'S ABOUT CHARACTER ARCS - The book champions the most powerful, yet most misunderstood, tool in a writer's toolbox - that is, character arcs - and uses them to challenge that the supremacy of that Goliath of storytelling theory, the Hero's Journey. IT'S VISUAL - I use a very visual way to illustrate how character arcs work and how they map the emotional shape of all sorts of stories (not just Hero's Journeys), from inspiring drama to anarchic comedy to gut-wrenching tragedy.IT'S PRACTICAL - It's not all theory. I also show readers how to use character arcs to develop and refine your own writing voice. Once you are able to identify how your favourite films use character arcs, you can use those lessons to figure out what sort of story you want to tell.IT'S DIVERSE - The book uses extensive case studies from a wide range of films, writers and genres from around the world as well as stories that feature diverse characters. Why? Because I want to encourage writers with a different story to tell.IT'S GOT EXTRA CHAPTERS - I've written two new chapters for the international edition. They're about the lesser known characters in storytelling - Reactive Characters and Passive Characters - and include a close look at The Big Lebowski, The Father, Dead Poet's Society, Being There and Midsommar.IRONY works as a driver of plot… Two choices that are good… You can buy me a cup of coffee & support this independent podcast that I host and produce at https://app.redcircle.com/shows/ae030598-6b83-4001-8a29-5e5dd592ed26/sponsort Please consider leaving a five-star review wherever you get your podcasts if you enjoyed this. It really helps the Britflicks Podcast grow and others to discover it.CreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/)Podcast for www.britflicks.com. Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
Under Oath Episode 6: Dylan Kussman a fanatastic actor from Dead Poet's Society and even more prolific writer including the mummy. Under Oath is legal celebrity show hosted by Guinness Book Record Holding Attorney, Comedian and Comic Book Writer, Jeff Kaufman and Standup Comedian, Monsters in The Morning On-Air Talent Ryan Bryan Holmes. #therealjeffkaufman
"Dead Poet's Society" , "Sullivan's Travels" , "Nightmare Alley (2021)", "The Truman Show", "Koyaanisqatsi", "Arrival" Film has been the most powerful art form to shape our attitudes and approach towards life and we are no exception. As we step into the new year, we want to list out the movies that shaped our outlook towards life.
Just in time for Valentine's Day, we review one of the more underappreciated romantic comedies from the '90s. It was hyped by its studio as “The NEXT Pretty Woman” and while it didn't even come close to approaching runaway success of that Julia Roberts blockbuster, you could make a case that it's a superior movie. It stars Andie MacDowell and ‘80's French acting phenomenon Gerard Depardieu (in his first English-speaking role) as a botanist and French ex-patriate who get married as part of an arrangement for him to receive his "green card" and permanent resident status. As you would expect, they both get more than they bargained for as the INS is cracking down on situations like this so they both have to PRETEND that they are a married couple in love….or are they in fact pretending? Acclaimed Australian filmmaker Peter Weir directed this gem as his follow-up to runaway hit Dead Poet's Society which came out the year before.Host: Geoff GershonProducer: Marlene Gershonhttps://livingforthecinema.com/#livingforthecinema #moviereviews #greencard #andiemacdowell #gerarddepardieu #peterweir #romcom #valentinesdaymovie #valentinesday #enya
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