Podcasts about Dick Maas

*Spoiler Warning voor Straatcoaches vs. Aliens en alle sci-fi films die je moeder ooit gezien heeft. (Waar ze zitten vind je in de timestamps hieronder.)In deze nieuwe aflevering van Nerd Culture duiken we diep in de wereld van sci-fi films with our very special guest-star: Michael Middelkoop! We bespreken aan de hand van zijn allereerste bioscoopfilm: Straatcoaches vs. Aliens, zijn all-time sci-fi classics die hem inspireerden om Neerlandsch eerste alien invasiefilm te maken. Verder kan Huey maar niet ophouden met orakelen over The Rookie, werpen we een blik op de nieuwste Mission Impossible trailer, en bespreken we natuurlijk ook Jelle's usual fairy dust (waar The Rookie dus al jaren tot behoord). Dit belooft een hele speciale te worden.Straatcoaches vs. AliensMichael Middelkoop mogen we inmiddels voorzichtig wel de Spielberg van de lage landen gaan noemen. Hij maakte afgelopen jaar maar liefst drie films; daar waar Spielberg al moeite had met twee; toegegeven, dat waren wel Jurassic Park en Schindler's List, maar toch.Ook Michael liet zich, net als de grootmeester zelf, inspireren door alles wat hij vet vond in zijn jeugd. Science Fiction films als Independence Day, Men in Black, Mars Attacks en Invasion of the Body Snatchers. Dit resulteert met Straatcoaches vs. Aliens in een film die niet alleen makkelijk op de schouders staat van Dick Maas' Flodder of New Kids Turbo, maar ook een ode is aan alles waar wij sci-fi nerds van houden. En daarom waren de Nerd Culture-presentatoren van deze week vereerd om met de Gouden Kalf winnende regisseur aan tafel, de diepte in te gaan.Een kijkje achter de schermenNu Huey twee professionele filmmakers aan tafel heeft, pakt hij zijn kans ze de oren van hun kop te vragen. Dit geeft ons niet alleen een kijkje in de keuken van de Nederlandse filmindustrie, maar ook antwoorden op de vraag hoe het is om ..SPOILER..Straatcoaches vs. Aliens draait vanaf nu in de bioscoop, dus drink je koffie op, draai een jointje en scheur naar de bioscoop voor deze eerste - en gelijk grootse en funny - Nederlandse stap in het science fiction genre.Timestamps:00:00:00 Intro00:03:46 Wat hebben we gekeken/gelezen/geluisterd?00:04:10 The Rookie00:05:59 The Order00:06:26 Nosferatu00:08:26 (Terug naar) The Order00:10:11 The Witcher: Sirens of the Deep00:16:02 You're Cordially Invited 00:18:41 Straatcoaches vs. Aliens00:32:03 De inspiratie achter de film (spoiler na 00:33:21)00:47:15 Invasion of the Body Snatchers00:54:02 Alien00:57:38 The Thing01:05:45 Independence Day01:15:02 Village of the Damned01:17:26 Men in Black01:21:10 They Live01:26:38 Mars Attacks (spoiler na 01:30:40)01:31:01 Close Encouters01:34:09 Fire in the Sky01:36:21 Ghostbuster 1&201:40:48 Street Trash01:45:00 Superbowl: Mission Impossible: The Final Reckoning Trailer

De zeventiende aflevering van het vierde seizoen van Cinepraatjes, de podcast van Cinemaatjes vanuit het opgeknapte huis van JP. De acteur Cefas Hoofs uit de fantastische film ‘Woensdag' is met terugwerkende kracht vanaf de allereerste aflevering onze podcast aan het luisteren. JP zag de teaser-trailer van ‘Fantastic Four'. William heeft zowel HBO Max als Disney+ opgezegd, maar is begonnen met Mubi. We hebben het heel kort over de vele Oscar nominaties die de musical ‘Emilia Pérez' heeft gekregen, maar zullen dat uitgebreider bespreken in een Minipraatje. Er is ook weer een sonnet van Marino, maar we zitten waarschijnlijk weer veel te moeilijk te denken. JP zag twee films en gaf William de keuze tussen ‘Blink Twice' en ‘Nightbitch'. William zag ook veel films, maar heeft het over ‘River's Edge' uit 1986 met Crispin Glover. We trokken ‘Amsterdamned' van Dick Maas uit de kast, een film die we eerder al eens hebben gereviewd op YouTube. In de Special bespreken we een film die we eerder al eens hebben afgezet en dit keer is het de film met de veelbelovende titel ‘Hard Rock Zombies' van Krishna Shah. We spoelen even terug naar het antwoord dat we gaven op het sonnet van Marino en beantwoorden ook weer vragen van luisteraars over o.a. Bollywood films, Cinemaatjes Bier, Gremlins 2 en Goonies 2, films die we fysiek aan onze collectie willen toevoegen en films over de Amerikaanse cultuur om de huidige tijd te begrijpen. Veel luisterplezier. www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

En u weet wat dat betekent: een speciale aflevering! Dus pak de kerstkransjes er maar bij en leun lekker achterover in uw denkbeeldige space capsule.Artemis:https://www.nasa.gov/feature/artemis/Ajouad El Miloudi:https://nl.wikipedia.org/wiki/Ajouad_El_MiloudiAnco van Hal:https://linktr.ee/sterrenstofnieuwsAndre Kuipers:https://andrekuipers.com/Arenda Schuurman:https://www.ganymedes.nl/author/arenda/Dick Maas:https://nl.wikipedia.org/wiki/Dick_MaasEvita Vervuurt:https://www.broadcastmagazine.nl/bmy/evita-vervuurt-ik-denk-wel-dat-ik-mezelf-gedreven-kan-noemen/Felix Meurders:https://nl.wikipedia.org/wiki/Felix_MeurdersHuub Stapel:https://nl.wikipedia.org/wiki/Huub_StapelIrene Moors:https://nl.wikipedia.org/wiki/Irene_MoorsJudy Lijdsman:https://www.judylijdsman.nl/Kelly Klingenberg:https://www.kellyklingenberg.nl/Leo Blokhuis:https://leoblokhuis.nl/wordpress/Manon Blaas:https://nl.wikipedia.org/wiki/Manon_BlaasMarjolijn van Heemstra:https://www.marjolijnvanheemstra.nl/Mirthe van der Drift:https://www.nporadio1.nl/presentatoren/mirthe-van-der-driftMischa Blok:https://nl.wikipedia.org/wiki/Mischa_BlokNathan Rutjes:https://nl.wikipedia.org/wiki/Nathan_RutjesNellie Benner:https://nl.wikipedia.org/wiki/Nellie_BennerRuben Nicolai:http://rubennicolai.nl/De Zimmerman en Space podcast is gelicenseerd onder een Creative Commons CC0 1.0 licentie.http://creativecommons.org/publicdomain/zero/1.0

De dertiende aflevering van het vierde seizoen van Cinepraatjes, de podcast van Cinemaatjes. We staan even stil bij het overlijden van horrorlegende Tony Todd. We hebben weer een nieuw Maatje op onze Patreon-pagina nl. Yaël Pollie en die valt gelijk met z'n neus in de boter. We hebben laatst samen met Bram van ‘Moviegelul met Vrienden' een audio-commentaar track opgenomen bij ‘De Lift' van Dick Maas en dit voor onze Maatjes op onze Patreon-pagina gezet. Uiteraard is ook Marino er weer met een sonnet, die op het eerste gehoor vrij eenvoudig lijkt. JP heeft gekeken naar de nieuwe slasher ‘In a Violent Nature' met een bijzonder concept. William keek de horror-comedy ‘Ready or Not' met Samara Weaving. JP keek ook nog naar 'Saturday Night', een nieuwe film van Jason Reitman over een uitzending van het sketch-programma ‘Saturday Night Live'. We trokken weer een VHS-band uit de kast en hebben twee gasten bereid gevonden om deze hoes voor te lezen. Het is de obscure straight-to-video film ‘The Abomination'. In de Special hebben we weer iets nieuws verzonnen, wat we vaker kunnen doen en dat zal dus ook zeker gebeuren. Ook beantwoorden we weer vragen over de do's en dont's van Dick Maas' ‘Amsterdamned 2', onze favoriete triootjes in niet-porno films, films waarvan we alle tekst kunnen mee praten en films waar we dat graag van zouden kunnen, onze top 5 winterse films en een streamingdienst waarop onze gereviewde films te zien zijn en dat bracht ons op een geweldig idee! Veel luisterplezier! www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes The Abomination: https://youtu.be/6FRLB6BPT6c?si=v4AAveGvpYDKL-uZ

Pour les besoins de cette nouvelle enquête direction La Courneuve et sa cité dortoir des 4000, sa grisaille et ses matins blêmes sans espoir pour mieux tenter de s'en échapper avec Le Choix des armes, diamant noir qui oppose les générations, les approches et les territoires réalisé en 1981 par un Alain Corneau alors en pleine possession de ses moyens. Un épisode un plus long que d'habitude qui revient certes sur l'un de nos plus beaux polars hexagonaux mais aussi sur tout un tas d'autres films policiers de l'époque entre Tir Groupé, La Guerre des polices, Pile ou face etc...sous la forme de digressions passionnantes. Et pour se prêter à l'exercice de l'interrogatoire c'est au tour de Jérôme Wybon (réalisateur de nombreux documentaires, concepteur de bonus et directeur de collection pour Studiocanal avec Nos Années 70 et plus récemment Nos Années 80) d'être notre invité. Retrouvez la photo signalétique de l'invité en début d'émission ainsi que les complices (un film dans le même giron) en toute fin de podcast. Avec dans cet épisode un retour sur Amsterdamned le giallo hollandais de Dick Maas (1988) et deux titres présents sur la collection Nos Années 70 justement avec Défense de savoir de Nadine Trintignant (1973) et Le Secret de Robert Enrico (1974) Un dossier mené par Rafael Lorenzo.

YOU DON'T NEED TO GO TO AMITY ISLAND FOR A SHARK MASSACRE!! IN FACT, YOU DON'T EVEN NEED A SHARK!!   It's easy to recognize a Jaws knock-off when it revolves around a shark eating people, but what about all of those movies without sharks that lift scenes and ideas from Steven Spielberg's film and Peter Benchley's novel? Well, around here we call those movies “Jaws, Minus the Shark” movies and they make up a surprisingly versatile and eclectic little subgenre, one full of Brodys, Quints, and inordinately sexy Hoopers.   Join Gabe and Ann-Marie Taylor – returning to Genre Grinder for the first time since 2020's Bad Shark Movies episode – as we explore what defines a Jaws, Minus the Shark movie and look at four such films: Michael Anderson's Orca (aka: Orca: The Killer Whale, 1977), Lewis Teague's Alligator (1980), Dick Maas' The Lift (Dutch: De Lift, 1983), and Christophe Gans' Brotherhood of the Wolf (French: Le Pacte des loups, 2001).   Note: There's something going on with my mic during this recording that makes me sound a little weird. Unfortunately, I didn't notice until I was editing. Apologies.   00:00 – Intro 10:48 – Orca (and the unfortunate truth of killer whales in captivity) 50:08 – Alligator 1:10:32 – The Lift 1:33:50 – Brotherhood of the Wolf 2:02:42 – Outro   If you are in a position to make the world a better place, please consider the following fundraisers: Justice for Sonya Massey: https://www.gofundme.com/f/justice-for-sonya-massey Palestine Children's Relief Fund: https://pcrf1.app.neoncrm.com/forms/gaza-relief Anera Gaza Aid: https://www.anera.org/where-we-work/palestine/gaza/ Donations 4 Abortions (state by state abortion funds): https://donations4abortion.com/  

It's one killer elevator, Michael, how much could it cost? In this week's episode of Certified Forgotten, we're joined by horror critic and cosplayer Jessica Scott (Fangoria, Inverse) to talk about Dick Maas's Down (aka The Shaft), a wild mashup of '80s scripts and '90s excess -- and, given its scheduled 2001 premiere date, perhaps the worst-timed movie in the history of Hollywood.

Which director makes my wife feel dumber, Michael Bay or Dick Maas? Tune in to find out. I also play calls about the last episode from Joe (Hindsightless) and Riley (Diegetic Advancement) and discuss some news items including giving accolades to EN World. Dieku Games Youtube channel https://www.youtube.com/@DiekuGames Confessions of a Wee Tim'rous Bushi MERP episode https://podcasters.spotify.com/pod/show/menion/episodes/Curing-System-Jadedness-with-MERP-e2l3ju2 Jeremy Jahns Youtube channel https://www.youtube.com/@JeremyJahns EN World new article on Evil Genius Games https://www.enworld.org/threads/is-evil-genius-games-doubling-down-on-nfts-blockchain.704819/ EN World's original article on EGG https://www.enworld.org/threads/the-rise-and-fall-of-evil-genius-games.702617/ Ways to contact me: Google Voice Number for US callers: (540) 445-1145 Speakpipe for international callers: ⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.speakpipe.com/NerdsRPGVarietyCast⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ The podcast's email at nerdsrpgvarietycast 'at' gmail 'dot' com  Find me on a variety of discords including the Audio Dungeon Discord. Invite for the Audio Dungeon Discord ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://discord.gg/j5H8hGr⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  PLAY web forum⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠http://www.dekahedron.com/boards/index.php⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Home page for this show ⁠⁠⁠⁠⁠https://nerdsrpgvarietycast.carrd.co⁠⁠⁠⁠⁠  Blog ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://nerdsrpgvarietycast.com/⁠⁠⁠⁠⁠  Home page for Cerebrevore, the TTRPG panel discussion podcast ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://cerebrevore.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Proud member of the Grog-talk Empire  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.grogcon.com/podcast/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  Ray Otus did the coffee cup  art for this show, you can find his blog at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://rayotus.carrd.co/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠  TJ provides music for my show.  Spikepit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://podcasters.spotify.com/pod/show/spikepit⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠provided the "Have no fear" sound clip. --- Send in a voice message: https://podcasters.spotify.com/pod/show/jason376/message

Deze week: acteur Huub Stapel. Programmamaker Rosalie Dielesen gaat in gesprek met de acteur, interviewer, presentator en theatermaker. Hij werd voornamelijk bekend door zijn werk met Dick Maas, zoals de serie Flodder en de horrorfilms De Lift en Amsterdamned. Hoe gaat deze mediaduizendpoot om met de verscheidenheid aan rollen? En hoe gebruikt hij persoonlijke ervaringen in zijn werk?In deze wekelijkse talkshow van De Balie interviewen programmamakers de makers die hen inspireren. Van cabaretiers tot schrijvers en van theatermakers tot kunstenaars.De podcast wordt geïntroduceerd door programmamaker Rokhaya Seck.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

En el episodio 19 de esta temporada, hablaremos de la película "EL ASCENSOR" ('De Lift', 1983). Un thriller holandés que combina el horror con la ciencia ficción de una manera única. "El Ascensor", dirigida por Dick Maas, cuenta la historia de un ascensor con vida propia que comienza a comportarse de manera errática, poniendo en peligro a todos los que lo usan. La investigación de un mecánico de ascensores y una periodista revelará los oscuros secretos detrás de esta tecnología aparentemente inofensiva. Entre los intérpretes se encuentran Huub Stapel, Willeke van Ammelrooy y Josine van Dalsum, que logran transmitir el suspense y la intriga que rodea al misterioso ascensor. *Sintonía de entrada: Lucidator de Saggitarius V.*

The Captain is nog eens langskomen om ons te vergezellen in The Roxy. Onderwerpen die aangekaart worden zijn Dick Maas, VHS Tapes het El Guapo boek, Toxic Avenger en Troma

Voordat we naar het thema van deze aflevering, avonturenfilms, gaan waarschuwen we je eerst voor de volgende films in onze filmflops. Erwin legt uit waarom je 'Lift' (niet die van Dick Maas) van Netflix absoluut niet moet zien en Jeffrey heeft de allerlelijkste nepsnor gezien in 'The Old Way' op PrimeVideo. In deze aflevering staat dus de avonturenfilm centraal. We vertellen je waar een goede avonturenfilm aan moet voldoen. Ook lichten we uit wat de hoogtijdagen waren voor de avonturenfilm. Zoals onze trouwe luisteraars dat ondertussen gewend zijn gaat uiteraard de 'Podcornronde' ook over de avonturenfilms. Want zijn avonturenfilms nog wel van deze tijd? En zijn ze gemaakt voor kinderen of voor alle leeftijden? De hoofdfilms van deze aflevering zijn 'Pirates of the Caribbean: The Curse of the Black Pearl' (Disney+) en 'The Mummy' (PrimeVideo). Het volgende thema is Drama. Wil je je goed voorbereiden? Kijk dan alvast 'Moonlight' (Videoland) en 'The Father' (Videoland of HBO Max). Volg ons ook via Instagram. Daar heten we de FilmFanaat. Je kan ons ook en mailtje sturen op podcastdefilmfanaat@gmail.com

L'investigatore Erik Visser indaga da incessantemente la caccia ad un feroce e imprendibile serial killer in muta da sub, che emerge dai canali di Amsterdam per mietere vittime. Il regista de L'Ascensore (bellissimo!) realizza qui un poliziesco decisamente più canonico e dal taglio maggiormente televisivo, ma non per questo meno avvincente e ben girato in tutti gli aspetti. Originale l'ambientazione e pure l'assassino subacqueo. Un thriller gioiellino di fine anni 80 che non si è cagato quasi nessuno, ma che ha una propria identità ancora solida, almeno per quanto mi riguarda.

De twintigste aflevering van het derde seizoen van Cinepraatjes, de podcast van Cinemaatjes. Iedereen allereerst een gelukkig nieuwjaar. Vorige aflevering zogen we een verhaal uit de duim en gaf Marino van Liempt ons het idee voor het plot en beloofde ons biertjes wanneer we er iets van konden maken. Dat bierpakket hebben we ontvangen en trekken we open. En dat is niet zomaar een bierpakket, dat is een filnk bierpakket… Een kast van een bierpakket. We hebben ook twee nieuwe maatjes op Patreon nl. Mima Kake en everyth1ng.dies. We hebben zowaar een echt nieuwtje en omdat we het echt nieuws vinden hebben we de jingle weer even afgestoft. Er komt nl. echt een tweede deel van ‘Amsterdamned' van Dick Maas, de man die we graag eens als gast in de podcast willen hebben. Uiteraard niet alleen een bierpakket, maar ook weer een sonnet van Marino. Dit keer eentje die we makkelijk konden raden. JP keek ‘Thanksgiving' van Eli Roth. William keek op Amazon Prime de nieuwe film van Emerald Fennell ‘Saltburn', sterker nog hij keek ‘m zelfs twee keer. JP keek ook nog de nieuwe film met Nicolas Cage ‘Dream Scenario'. We trokken ‘Jay & Silent Bob Strike Back' uit de kast en hebben het over de blow-periode van zowel Kevin Smith als van onszelf. In onze Special bespreken we onze Top 5 van 2023, zowel films uit 2023 als films die we voor het eerst zagen in 2023. Uiteraard beantwoorden we ook weer vragen van luisteraars over onze goede voornemens voor 2024, het gebrek aan nostalgie voor videobanden, boeken die we graag verfilmd willen zien, de slechtste film van 2023 en welke beroepen we willen uitoefenen in Hollywood. www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

Holly spends Christmas in the Netherlands to find out the horrifying origins of St. Nicholas with Saint (aka Sint aka Saint Nick, 2010), as Dutch madman Dick Maas envisions Father Christmas as a murderous zombie who visits Amsterdam every 32 years as part of an evil curse. Listen as we uncover the legend of Black Peter, strange college mating rituals, blowtorch wielding policemen, and a massive government conspiracy on this week's show! Hosted on Acast. See acast.com/privacy for more information.

▸ De film 'Amsterdamned' krijgt van ons: 3,5 Sterren! ▸ Volg De Video Corner ook op TikTok, Instagram en Facebook: https://linktr.ee/devideocorner/ ▸ Kijk voor onze volledige ratinglijst op Letterboxd: https://letterboxd.com/DeVideoCorner/ ▸ De Video Corner is een productie van Back Corner: ⁠⁠https://www.back-corner.nl⁠/ ▸ Voor samenwerkingen kunt u mailen naar: adverteren@back-corner.nl (00:00:00) Intro (00:01:17) Amsterdamned (00:18:20) Conclusie & Rating (00:22:00) Outro

This episode we review the semi-classic Dutch slasher/giallo, Amsterdamned! Film stars: Huub Stapel, Monique van de Ven https://letterboxd.com/film/amsterdamned/

It's Dick Maas time. Join us as we discuss this Dutch killer elevator movie. Follow us on Twitter and Instagram - @Reviewedtodeath Get 20% off anything at Liquid IV by using our link https://zen.ai/JTK_8bY0WgcR5G3lFtxYM_Acn4LHnU98OV3sj64igRk Music: Breaking news music by Sound Effects Factory - https://www.youtube.com/@SoundEffectsFactory Falling Down by CreatorMix.com All additional music by Groove Witness - www.groovewitness.us Read our companion written reviews - https://imgur.com/user/trojaSpaceBandit --- Send in a voice message: https://podcasters.spotify.com/pod/show/reviewedtodeath/message

De tiende aflevering van het derde seizoen van Cinepraatjes, de podcast van Cinemaatjes. William schuift direct na een werkborrel aan bij JP, dus dt belooft wat. We hebben het even over de acteurs- en schrijversstaking in Hollywood. Vlak na onze ‘Amsterdamned' review op YouTube, kwamen Dick Maas en Huub Stapel ineens met het nieuws dat ze bezig zijn met een deel twee hiervan. Hebben we ze wellicht geïnspireerd? William keek met z'n vriendin naar ‘Frankenstein' en kwam op het idee om hiervan een Lego-set te maken. Onafgesproken bleken we allebei de Nederlandse horrorfilm ‘Moloch' te hebben gezien. JP keek ook nog naar de slasher 'Sick' uit 2022, die werd geschreven door de bedenker van ‘Scream'. William waagde zich ook aan ‘Orphan: First Kill' en keek ‘m zelfs af. We trokken een DVD uit de kast, die ooit behoorde aan de vader van een vriend nl. de film ‘Boyhood', maar de man had een apart DVD-systeem en hierdoor bleek er meer te zijn dan alleen deze film. In onze Special bespreken we onze top 5 vampierenfilms, maar ook een aantal iconische vampieren. En uiteraard beantwoorden we ook weer vragen van luisteraars over o.a. onze favoriete wijn en biertjes, films met Tom Cruise, filmcomponisten, wij van ons twee de beste acteur is en een eventuele TV-zender met alleen maar gave films en series. www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

Hip Hoi Hoera liefste luisteraars! Het is weeral feest. Onze Zwino telt weer een jaartje bij op zijn verjaardagsteller en dan krijg je bij de Movie Matters Podcast de scepter in handen. Zijn adoratie voor alles wat cult is, leidde hem, dankzij een documentaire van een jaartje geleden, naar de Nederlandse god Dick Maas. De held die ons Flodder gaf, verdiende een plekje in de schijnwerpers. Daarom werden De Lift, Amsterdamned en Quiz uitgekozen. Daarna trokken we de cinema in, voor een D/C blockbuster van formaat. The Flash!!! In de volgende aflevering wordt het weer iets anders: de landsgrenzen vormen geen belemmering. We doen van Franse slag. Tot de volgende!!!  jullie kunnen ons ook mailen naar moviematterspodcast@hotmail.com Volg ook onze socials: (1) Movie Matters Podcast Op facebook en op instagram: @_moviematterspodcast_ • Volg ons via Letterboxd: Zwino: ‎ThomasZwino's profile • Letterboxd Peer: ‎Lpereboom's profile • Letterboxd Tim:  ‎Tim Poelman's profile • en https://boxd.it/4Y95L En Join onze discord waar we samen gezellig over films kunnen praten: https://discord.gg/Krq6uXGWFm

Jeremy is joined by Chris Arnsby for a discussion of 1988's Dutch action thriller Amsterdamned, written and directed by Dick Maas. Their conversation covers a range of topics including ITV's overnight schedule, a real-life kidnapping, The Quizmaster Murders, the Godzilla threshold and Keeping Up Appearances.Trailer: https://www.youtube.com/watch?v=oCuxQ8owFgg&pp=ygUUYW1zdGVyZGFtbmVkIHRyYWlsZXI%3DTheme song music video: https://www.youtube.com/watch?v=xeszsmEhDYo&pp=ygUMYW1zdGVyZGFtbmVkThat boat chase: https://www.youtube.com/watch?v=z1PZAfdYwQ0&pp=ygUXYW1zdGVyZGFtbmVkIGJvYXQgY2hhc2U%3D

Welcome to Amsterdam, where no one speaks Dutch or looks for missing children! Chase Hoffman (Comedy Late Night, Sunday Supper) and Bahlya Yansané (Anything But Standup, They Were Nice to Me) joined me, sans Jake, to discuss celebrity dick and Dick Maas. Next week, we're covering Stuart Little, which you may have forgotten Jennifer Tilly was in. Befriend us: Pod: @thetoniawards on Instagram Jake: @jakeheverhart on Instagram, @therealjakobeem on Twitter Sam: @samanthprosser on Instagram, @samanthprosser on Twitter Chase: @chaseahoffman on Instagram Bahlya: @bahlyathe3rd on Instagram Anything But Standup: @any.thingbutstandup on Instagram Comedy Late Night: @comedylatenight on Instagram Sunday Supper: @sundaysuppercomedy on Instagram They Were Nice to Me: @thenicestcomedy_ on Instagram

This week we head out to the European wilds and experience death and destruction as only the Netherlands and Jolly Old England can provide. First, we experience emotional death and destruction in the form of the miserable, Kitchen Sink nightmare, The Black Panther (1997). Then we head to Amsterdam with Dick Maas at the helm and experience the death and destruction of a mute girl's childhood at the hands of The Commish himself, Michael Chiklis in Do Not Disturb (1999).  Feedback: cultofmuscle@gmail.com Facebook: facebook.com/groups/cultofmuscle Merch: redbubble.com/people/cultofmuscle/shop

Welcome to season 6!Captain and Wilson kick off the season with the 2001 science fiction horror film "Down," also known as "The Shaft"! Directed by Dick Maas, it stars James Marshall (Twin Peaks), Naomi Watts (Mulholland Drive), Eric Thal (The Puppet Masters), Michael Ironside (Total Recall), Edward Herrmann (Gilmore Girls), and Ron Perlman (Hellboy)!The movie discussion starts around 16:57.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We wrap up New Year, New Look by discussing a Dutch director's American remake of his own movie that was released at the worst possible time, Dick Maas's Down. Email: WeeklyPodcastMassacre@gmail.com Twitter: @WeeklyMassacre Instagram: @WeeklyMassacre Music by Dora the Destroyer --- Send in a voice message: https://anchor.fm/weeklypodcastmassacre/message

linktr.ee/CatchingUpOnCinema This December is “Satanic Santa” month at Catching Up On Cinema! All month long, we'll be reviewing Christmas movies featuring murderous, rampaging Santa Claus! This week, Trevor reviews Dick Maas', Sint / Saint (2010)! A Dutch film concerning an evil Sinterklaas coming to murder the populace of Amsterdam, Sint (2010) is a visually dynamic and gory holiday horror-comedy that unfortunately fails to fully deliver on the promise of its premise. Unevenly paced, and lacking in character, Sint shows flashes of brilliance in its more energetic moments, but on the whole, sadly fails to make an impression. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema Like, share, subscribe, and we'll catch you next time!

This week on S&A Lindsay is joined by The New World Podcast Co-Host Ryan Gowland & The VHUS Podcast Host Dirk Marshall. And we are getting ready for Christmas with an opening pallet of some of the weird and wonderful Christmas movies from around the world. Edmund Perdom's Don't Open till Chritmas (1984), Ron Underwood's Holiday in Handcuffs (2007), & Dick Maas' Sint (2010). This is a Christmas Triple of People killing Santa, Santa killing people and a lot of people being way too okay with Melissa Joan Hart kidnapping Mario Lopez. It's a good time. Listen to Schlock & Awe on your favorite Podcast App.

De tweeëntwintigste aflevering van het tweede seizoen van Cinepraatjes, de podcast van Cinemaatjes. William komt met een stukje zelfpromotie over de nieuwe single ‘Enkel Achterland' van het aankomend album van zijn band Ggu:ll. JP verklapt het thema van onze oktobermaand. William is zowaar bij de première geweest van de documentaire ‘M'n Beessie en Ik' op het Nederlands Film Festival. We staan even stil bij het overlijden van Louise Fletcher. Chris Hemsworth gaat de villain spelen in de nieuwe Mad Max. William zag de trailer van ‘Maxxxine' het derde deel van de trilogy van Ti West. JP zag een snippet uit ‘Glass Union', een nieuwe ‘Knives Out' film. William zag de trailer van ‘The Midnight Club', een nieuwe Netflix serie van Mike Flanagan. Er komt een ‘Final Destination 6' en een nieuwe ‘Karate Kid'. William keek het vijfde seizoen van ‘Cobra Kai'. JP vergeleek de oude en de nieuwe ‘Firestarter'. William is erg te spreken over de Netflix serie ‘Dahmer' en JP zag ook ‘Fall”. We trokken ‘Night Of The Creeps' uit de kast, een horror-comedy van de bovenste plank, of toch niet. In de Special hebben we het over Rob Bottin, een special effects en make-up artist uit de hoogtijdagen van de practical effects en we vragen ons af waar hij in godsnaam uithangt. En we beantwoorden weer vragen van luisteraars over o.a. cross-overs zoals Alien vs. Predator, wat Robocop vs. Terminator voor cross-over zou zijn en onze eigen verzonnen cross-overs. Slecht gerecenseerde films, die wij wel goed vinden. Of we ooit alleen in de bioscoop waren. De beste en slechtste accenten in films en een ware top 5 van Dick Maas films.

Filmmaker Bill Scurry (co-host of the ‘I Don't Get It‘ podcast) and Matthias van der Roest are back on the show to shine on a light on the wildly entertaining thriller 'Amsterdamned' (1988) from writer-director Dick Maas. Follow Matthias van der Roest on Twitter: https://twitter.com/MattRSays Follow Bill Scurry on Twitter: https://twitter.com/WilliamScurry Subscribe to Bill Scurry's YouTube Channel: https://bit.ly/2NKPwF6 Follow James Hancock on Twitter: https://twitter.com/WrongReel #Sponsored Use Promo Code WRONGREEL at manscaped.com Wrong Reel Merchandise: https://teespring.com/stores/wrong-reel

Zum Kinostart von “Beast” mit Idris Elba haben wir uns einmal das Thema “Löwen im Film” genauer angeschaut. Zum einen anhand von “Prey”. Nein, nicht das Predator-Sequel, sondern den Film von Dick Maas aus dem Jahr 2016, in dem ein Löwe in Amsterdam wütet. Dann holen wir “Der Geist und die Dunkelheit” aus dem 90er-Schrank und schauen, ob die zwei Killer-Löwen aus Afrika gut gealtert sind. Und dann blicken wir zurück ins Jahr 1981, als Noel Marshall das Ergebnis des wohl gefährlichsten Filmdrehs aller Zeiten veröffentlichte - mit “Roar”.

Krap een jaar geleden kwam filmproducent Matthijs van Heijningen uitgebreid aan het woord in maar liefst twee afleveringen van onze podcast. Toch ging Michiel Berkel nog één keer bij hem op visite, om de puntjes op de laatste i's te zetten. Over Nouchka van Brakel, Marleen Gorris en Dick Maas bijvoorbeeld, maar ook over waarom Rutger Hauer een bloedhekel aan hem kreeg en omgekeerd: waarom Van Heijningen op zijn beurt weer een bloedhekel kreeg aan Ate de Jong. Beeld: Van de koele meren des doods (Nouchka van Brakel, 1982)

Door Jasper Donkers: 1. The Opposites - Slapeloze Nachten  2. Kate Bush - Running Up That Hill (A Deal With God) 3. Martin Solveig, Lee Fields - Jealousy  4. Britney Spears - Toxic 5. Otto Knows - Million Voices 6. David Guetta, Sia - Titanium 7. Disclosure, Eko Roosevelt - Tondo 8. Nelly Furtado - Say it Right 9. Nirvana - Smells Like Teen Spirit 10. Rick Astley - Never Gonna Give You Up 11. John B - Numbers (Camo & Krooked Remix)  12. Acraze - Do It To It 13. Flume - You & Me (Used Remix) 14. Dizzee Rascal, Armand Van Helden - Bonkers 15. Hi-Lo, Reinier Zonneveld - String Theory 16. Men At Work - Down Under 17. Danzel - Pump It Up 18. Dick Maas, Peter Schön - Eindtitels (‘symbolisch' volgens Jasper)

Episode 111: Dutch horror. SAE takes its first cinematic journey to the Netherlands and discovers The Lift (1983), written and directed by legendary Dutch filmmaker Dick Maas, as well as the revenge horror comedy, The Columnist (2019).

Dan and Bradley invite their friend Paul Grammatico on to discuss 4 films including this episodes feature film from 1973 LEMORA: A CHILD'S TALE OF THE SUPERNATURAL and the 1983 DICK MAAS film THE LIFT   The Poll   Lorna The Exorcist (1974) 22.8%   Lemora (1973) 29.7%   The Lift (1983) 26.7%   Love me Deadly (1972) 20.8%

In this episode of Weirdhouse Cinema, Rob and Joe take a ride in Dutch filmmaker Dick Maas' 1983 killer elevator movie “The Lift.” Learn more about your ad-choices at https://www.iheartpodcastnetwork.com

It's felt like the year of Dick Maas at Imported Horror. We've got an unashamed nostalgic attachment to Dutch B-cult classic Amsterdamned, which we watched this summer, and we're finishing the year with the yule tide terrors of Saint. The crew explores differences between Dutch and American holidays, including the super racist "Zwarte Piet" tradition. Plus, we look back on 2021 and forward to plans for the new year. Motion Picture Terror Scale: 1. Quality: 3 (Marcus & Melissa) / 4 (Grady). Enjoyment: 3 / 5 / 4

Julius en Jasper bespreken welke film van Dick Maas beter is: Sint (2010) of Prooi (2016).

MET VIDEO: https://www.youtube.com/watch?v=Qrt7hZ2t5SQ  Hooggeëerd bezoek in deze 81ste editie van de podcast. We hebben zowaar een katholieke heilige over de vloer. Mister December himself: Sint Nicolaas van Myra Patara. De beste man was toevallig in het land voor zaken, maar wist ook een klein momentje in zijn drukke schema te vinden om te babbelen over een film. En wel een semi-biopic van zijn eigen leven: Sint (2010) van regisseur Dick Maas. De details uit het leven van St. Nicolaas zijn nogal aangepast in het fictieve plot. Dat Niklas – de door Huub Stapel gespeelde 'Slechtheiligman' uit de film – vooral een moordende ploert is, stemt onze podgast des te vrolijker zelfs! Sint is daarmee een typische Maas-film: een dik aangezette culthorror met een vette knipoog.  En dit is een speciale aflevering! Want als Sinterklaas komt praten over deze film, willen we wel visueel bewijs. We nodigden hem uit in de radiostudio, en hebben de boel op film gezet. Dat maakt dit de best klinkende en uitziende aflevering van Duimpjeworstelen tot nu toe! Kijk en luister dus snel... We hebben het in het gesprek ook over de ophef rond de filmposter van Sint, hoe oud de Goedheiligman nu werkelijk is, en hoeveel suspense of disbelief je nodig hebt om een ruiter op het dak te accepteren. (Naar een idee van vriend van de show Martijn van Koolwijk.) Steun Duimpjeworstelen op Patreon! En ontvang leuke extraatjes ^_^ Links: De Dick Maas Methode op NPO Plus: https://www.npostart.nl/het-uur-van-de-wolf/29-09-2021/VPWON_1330431  dkstudio (Wijchen) van Dick Klabbers, waar we de podcast hebben opgenomen: https://www.dickklabbers.nl/  Cameraman Devansh Gupta: http://perpendicularinfinities.com/  Bijzondere dank aan Jan Gipman: http://jangipman.nl/  Extra links: Dick Maas en Johan Nijenhuis bij DWDD: https://www.bnnvara.nl/dewerelddraaitdoor/videos/237998  Dick Maas in VPRO Cinema over Sint: https://www.vprogids.nl/cinema/speel~POMS_VPRO_4967058~cinematv-06-dick-maas-over-sint-kort~.html  En hier bij oud-podgast Dennis Alink over Quiz: https://www.youtube.com/watch?v=9ap7b3UUBfs  De leader van Garth Marenghi's Darkplace: https://www.youtube.com/watch?v=yk0qGq7P3lM 

Tijn Touber is heel veel. Hij is schrijver, muzikant, inspirator en tevens de oprichter van de band Loïs Lane. Hij schreef de titelsong voor de Dick Maas-film Amsterdamned, geeft trainingen en schrijft boeken.Voor Tijn Touber was de periode tussen zijn zestiende en zevenentwintigste een en al seks, drugs en rock-'n-roll. ‘‘Ik ben geboren in 1960 en begon in mijn tienerjaren te spelen in bandjes. Het was punktijd en veel drugs hoorde daarbij. Daarnaast hadden we een heel donker toekomstbeeld.'' In deze wereld met de mentaliteit ‘no future, fuck the system' groeit Touber verder op. ‘‘Toen ik eenentwintig was ontmoette ik Monique Klemann. Naast dat we een relatie kregen, ontstond de band Lois Lane. Een muzikaal groot succes voor ons beiden.''Loïs LaneDe band van de zussen Klemann is een succes, maar medeoprichter Touber kon daar niet van genieten. ‘‘Zelfs als we een hit hadden, kon ik daar nooit echt blij om zijn. Genieten vond ik lastig. Ik was allang bezig met wat er na deze hit zou komen. Dat extremisme zit nog steeds in me, maar weet ik nu te handhaven.''Allemaal verlichtTouber had steeds meer drugs nodig en wist dat hij dit nooit lang nog zou volhouden. Het was het moment waarop hij tot inkeer kwam. ‘‘Ik ontdekte de kracht van meditatie. Het heeft me geholpen om balans aan te brengen in mijn leven. Ik zie het nu als mijn missie om andere mensen te laten zien dat ze verlicht zijn. Zolang je denkt dat je verlicht moet worden zit je in de valkuil dat we steeds op weg zijn iets te worden. Rijker, beroemder, verlichter. De les die ik naar buiten wil brengen is dat iedereen allang verlicht is. Als iedereen gaat ervaren dat in zichzelf en in anderen te zien, dan krijg je een heel andere wereld. Dan hoeft niemand te vertellen dat regenwouden platbranden niet goed is of dat we geen oorlog moeten voeren. ''Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Episode 56  An Imaginary Movie in Sound   Playlist John Carpenter, “Opening sequence” from Dark Star (1980 Citadel). This record contains incidental music, sound effects and dialogue from the motion picture. Electronic music by John Carpenter. Completed in 1974, the film wasn't released until 1979 following the success of Carpenter's Halloween. The soundtrack followed in 1980. Early synth music from Carpenter for which he used the EMS VCS3 synthesizer. 3:30 Dick Maas, “Main Title” and “Out of Breath” from L'Ascenseur Bande Originale Du Film (The Lift) (1984 Milan). Composed by, Roland synthesizers, Dick Maas. 5:11 Mike Oldfield, “Pran's Departure,” “Worksite,” “The Year Zero,” “Blood Sucking” from The Killing Fields (1984 Virgin). Composed by, guitar, Fairlight Computer, Mike Oldfield; Choral & Orchestral Arrangements, edited by, David Bedford; Choir, Tölzer Boys Choir; Composed by David Bedford (“Worksite”), Mike Oldfield; Conductor, Eberhard Schoener; Orchestra Of The Bavarian State Opera; Asian Percussion, Preston Heyman (“The Year Zero”). 6:56 David Holmes, “You're Going To Belfast,” “The Hunt,” and “'71” from '71 (2014 Touch Sensitive Records). 10:01 Arthur B Rubinstein, “Video Fever” plus dialogue from Wargames (1983 Polydor). Composer, Arthur B Rubinstein; Synclaver II Digital Music System; Linndrum Drum Machine; Roland System 100 Analog Synthesizer, programmed and performed, Anthony Marinelli, Brian Banks. 3:30 Michael Stearns, “Meditation 1” from Chronos (1984 Sonic Atmospheres). Created for the Ron Fricke film and produced for the six-channel discreet surround sound system of the OMNIMAX IMAX theaters. Stearns plays synthesizers made by Serge Modular, Oberheim, Yamaha, and EMU. Constance Demby plays “space” bass. 8:36 Cliff Martinez, “I Drive” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. The Cristal Baschet is a contemporary musical instrument developed in 1952 by the brothers Bernard and François Baschet. To play, musicians rub the rods with wet fingertips. Martinez was also known as the drummer for the early Red Hot Chili Peppers. He uses the Baschet Cristal, a kind of glass harmonica, for many of the sustained, ambient tonalities, plus vintage synths and percussion devices to create these beautiful textures. 2:04 Cliff Martinez, “My Name on a Car” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 2:19 Cliff Martinez, “On the Beach” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 6:35 Cliff Martinez, “Rubber Head” from Drive (2011 Lakeshore Records). Composer, performer, Baschet Crystal, Cliff Martinez; Guitar, Mac Quayle; Lute, Sitar, Gregory Tripi. 3:09 Michael Stearns, “Meditation 3” from Chronos (1984 Sonic Atmospheres). Stearns plays synthesizers made by Serge Modular, Oberheim, Yamaha, and EMU. Constance Demby plays “space” bass. 5:05 Popol Vuh, “Sieh Nicht Überm Meer Ist's” from Cobra Verde (1987 Milan). Piano, Synclavier, vocals, Florian Fricke; Synclavier programming, recording and digital mastering by Ralph Graf; Guitar, percussion, vocals, Daniel Fichelscher; Vocals, Renate Knaup. 1:23 Popol Vuh, “Nachts: Schnee” and “Der Marktplatz” from Cobra Verde (1987 Milan). Piano, Synclavier, vocals, Florian Fricke; Synclavier programming, recording and digital mastering by Ralph Graf; Guitar, percussion, vocals, Daniel Fichelscher; Vocals, Renate Knaup. 4:24 Christopher Spelman, “The Final Journey” from The Lost City of Z (2017 Filmtrax). Composed, Arranged, Christopher Spelman; Conductors, Adam Klemens, Pejtsik Péter, Richard Hein; Drum, Jim Berenholtz; Flute, Jim Berenholtz; additional music, Kent Sparling; FILMharmonic Orchestra, The Budapest Film Orchestra, orchestrated by Daniel Halle. 7:51 Background Music, Introduction Vangelis, “Blade Runner Blues” from Blade Runner (1994 EastWest). "Most of the music contained in this album originates from recordings I made in London in 1982, whilst working on the score for the film Blade Runner. Finding myself unable to release these recordings at the time, it is with great pleasure that I am able to do so now. Some of the pieces contained will be known to you from the Original Soundtrack of the film, whilst others are appearing here for the first time. Looking back to Ridley Scott's powerful and evocative pictures left me as stimulated as before, and made the recompiling of this music, today, an enjoyable experience." Vangelis (Athens, April 1994). 8:54 Opening: Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. For additional notes, please see my blog Noise and Notations.  

There's a killer elevator murdering people! Sounds exciting, right? Sad news: It's underwhelming compared to Dick Maas' later films. Amsterdamned and Prey/Uncaged were confidently ridiculous but, unfortunately, The Lift felt unsure of itself and unfinished. Motion Picture Terror Scale: 1. Quality: 1 (Marcus & Grady) / 2 (Melissa). Enjoyment: 1 (Marcus & Melissa) / 2 (Grady)

Dick Maas, wie kent hem niet? De even succesvolle als tegendraadse maker van genrefilms als 'De lift', de drie Flodder-films, 'Amsterdamned', 'Moordwijven' en 'Sint'. Zijn laatste, minder succesvolle film was 'Prooi' uit 2016 alweer. Wel publiceerde hij onlangs het boek 'De Naakte Getuige', een thriller waarin we enkele karakters uit 'Amsterdamned' weer tegenkomen, onder wie rechercheur Eric. Floortje Smit ging met Dick Maas uit wandelen, in Amsterdam uiteraard. Luister naar het tweede deel van hun wandeling.

Dick Maas, wie kent hem niet? De even succesvolle als tegendraadse maker van genrefilms als 'De lift', de drie Flodder-films, 'Amsterdamned', 'Moordwijven' en 'Sint'. Zijn laatste, minder succesvolle film was 'Prooi' uit 2016 alweer. Wel publiceerde hij onlangs het boek 'De Naakte Getuige', een thriller waarin we enkele karakters uit 'Amsterdamned' weer tegenkomen, onder wie rechercheur Eric. Floortje Smit ging met Dick Maas uit wandelen, in Amsterdam uiteraard. Luister naar het eerste deel van hun wandeling.

Amsterdamned (1988) Category: Detective 1/3 Dan takes us through the murderous canals of the Netherlands. Don't worry, there are many stop along the way to take a food break. The gang also shares condom knowledge. There are so many scuba tubes in this one but it leads to one hell of a boat chase.  Live Mas, Dick Maas. -Crash and Burn 

datum: 29 april en 5 mei 2021 gasten: Xander De Rycke, Sven De Ridder en Jeffrey De Vore Op 21 april kwam de DVD uit van de documentaire over Dick Maas, de Nederlandse regisseur van De Lift, Flodder, Amsterdamned, Sint en Prooi. We spreken met Xander en Sven over die films en ook met de regisseur van die geweldige documentaire: Jeffrey De Vore.

Is Amsterdamned eigenlijk een goede film? Zou Gerto een échte filmquiz kunnen winnen? Wie is jouw favoriete Star Trek Kapitein? Mummy Impossible. Flodder haat. Marvel. The Falcon and the Winter Soldier. The Suicide Squad. Onze favoriete 1 april grappen en nog heel veel meer!

There's a giant lion rampaging through Amsterdam! Do you really need to know more? This week, this gang watches the latest film from Dick Maas, the B Movie King of Amsterdam, and explores Wilhelm screams and China's fondness for giant kitty cat carnage. Also, which terrible SyFy original monster would you rather die fighting? Motion Picture Terror Scale: 0. Quality: 4 (Marcus) / 5 (Melissa) / 4 (Grady). Enjoyment: 5 but also eleventy billion Articles mentioned in this episode: "Crowdfund This: A Documentary About Dutch Genre Director Dick Maas," by Ard Vijn in Screen Anarchy "FILMMAKERS TALK THEIR DOCUMENTARY ON DICK MAAS (“AMSTERDAMNED”)" by Michael Gingold in Rue Morgue "How Dutch horror film 'Prey' took a huge bite out of the Chinese box office," by Geoffrey Macnab in Screen Daily "Ahhhhh! Where in the Wilhelm Did the Wilhelm Scream Come From?" by V Renee in No Film School "SFX Secrets: The Wilhelm Scream" by Fandor on YouTube

Wow. December. December of 2020. In a way, it's kind of remarkable that we all made it this far. Let's give ourselves a pat on the back as we listen to this ABSOLUTE MONSTER of a Minisode! Coming in at a meaty 50 minutes, it's MINISODE 130!  Topics this week include Shudder Exclusive PORNO and DOUBLE DATE. Plus, we have the next entry in Andy's side-quest where he delves into the world of NATURE GONE WILD with the fun dubbing catastrophe that is Dick Maas' PREY! Also, there's another installment of MITCH'S PITCHES!  Due to his well documented ignorance towards films, Mitch is shown a film poster with all titles, taglines etc removed and tasked with attempting to decipher the plot. Will it go well? The poster image can be seen below... Also, it's not Mitch's pitch this week... We also announce the film for this week's main episode... In addition to all this, we dig into your posts and messages in the Feedback section and tell you what you should be watching as we look at what's arriving on streaming platforms this week!   Please note that this podcast may contain strong language and even stronger Scottish accents.    Also, why not pop over and take a look at our Patreon page? Remember, you can keep up to date with our news by following us via the usual social media outlets:  Facebook (including our group THE CHUD LOCKER!) Twitter Instagram Plus you can drop us an email to stronglanguageviolentscenes@gmail.com OR check out our WEBSITE!  Strong Language & Violent Scenes theme by Mitch Bain & The Sunshine Orchestra

STEROIDS – LE PODCAST profite de son visa tourisme pour vous faire visiter la belle ville d’Amsterdam : ses canaux de l’Amstel, son musée Rembrandt, ses meurtres crapoteux de prostituées… Vous l’aurez compris, cette semaine, on vous fait visiter… AMSTERDAMNED de Dick Maas !La Hollande, l’autre pays de la série B qui déménage ? C’est le cas, si on se concentre sur la filmographie de Dick Maas. Réalisateur de L’ASCENSEUR et ISSUE DE SECOURS, Dick Maas signe avec AMSTERDAMNED son film le plus réjouissant, s’inspirant autant des films noirs de son enfance que des slashers horrifiques très à la mode dans les années 80. Mais l’intérêt du film dépasse largement ses influences américaines, étant donné que Dick Maas cherche spécifiquement à mettre en valeur la ville d’Amsterdam, qui sert ici de toile de fond à une enquête en forme de course-poursuite pour attraper un tueur en série qui sévit sur les canaux de la ville. Poursuites en bateaux, meurtres sadiques, flic aux méthodes expéditives…Pour Julien Dupuy et Stéphane Moïssakis, AMSTERDAMNED reste cette bonne petite série B d’artisan conçue avec un amour tel pour le genre qu’elle se revoit encore avec un certain plaisir aujourd’hui, plus de trente-deux ans après sa sortie initiale !Pour nous soutenir, une seule adresse : https://fr.tipeee.com/capture-mag/ See acast.com/privacy for privacy and opt-out information.

De vierde Cinepraatjes, de podcast van Cinemaatjes over onze 150ste Cinemaatjes review, het missen van een bioscoopervaring, het overlijden van Sean Connery, Halloween uit 2018, The Queen's Gambit, Strongbad uit de Homestar Runner serie, Melo-Cakes, een terugblik naar 'The Monster Squad' en heel veel vragen van luisteraars zoals o.a. wat voor muzieksmaak we hebben, waarom rom-coms stom zijn, gave Holy Fucking Shit momenten en in welke Dick Maas film we zouden willen spelen. En hoor vooral hoe rode wijn een podcast kan beïnvloeden.

datum: maandag 19 oktober 2020 gast: Jan Verheyen Naar aanleiding van zijn boek: Alle Remmen Los over pulp cinema uit de jaren 70 spreken we met Jan over Ilsa, She wolf of the SS, over de vele films met aanvallende beesten, over Mondo Cane en Faces of Death, over rampenfilms, over Dick Maas en heel veel meer heerlijke rommel uit de jaren 70 en daarna. 

Dick Maas is regisseur. Na een paar korte films maakt hij in 1983 zijn eerste speelfilm, De lift, waarvoor hij meteen zijn eerste Gouden Kalf ontving. Daarna volgden filmklassiekers als Flodder(1986), Amsterdamned(1988), Flodder in Amerika!(1992), Moordwijven(2007) en Prooi(2016). Met ongelimiteerde budgetten en grensverleggende effecten heeft Maas de Nederlandse film naar een ander niveau getild. Op het Nederlands Film Festival gaat de documentaire De Dick Maas methode in première. Daarin wordt op deze bijzondere periode uit de Nederlandse filmgeschiedenis teruggeblikt. Pieter van der Wielen spreekt met Dick Maas.

Friend Richard from Bad Rad Movies podcast joins us to discuss Goo Chips, The Elevator Repair Industry, Muzzy Language Courses, large dicks, more dicks, displaced Rednecks, and Franco Nero's career, all on a very special episode of LNP. We love you. The Lift (1983)Redneck (1973)16 Horsepower - Black Soul Choir

Posiblemente, después de ver esta película y escuchar el podcast, nunca más quieras volver a subir en uno……………….En este episodio de “Mis Terrores Favoritos”, volvemos a pediros que hagáis un ejercicio de memoria, os dirijáis a la estantería olvidada de serie B del videoclub de los 80 y volváis a alquilar “El ascensor” (The Lift), película del año 1983 que gozó de su mejores momentos en el videoclub. Dirigida por Dick Maas, un director, guionista, productor y compositor holandés del que poco se conoce, esta película y “los Flooders”(1986), pero que sin embargo no ha dejado nunca de trabajar. La protagoniza Hup Steepel, otro de esos actores desconocidos que aquí interpreta a un mecánico ascensorista con dotes de Sherlock Holmes, pero sin duda la estrella es el ascensor, un metapersonaje, con muy malas pulgas, inteligencia artificial y un gran espíritu de venganza por el mal uso posesivo que siempre ha hecho el humano de él, toda una metáfora del uso de los avances en la tecnología, o de la clase social oprimida, o de las personas sometidas o simplemente una buena excusa creativa para el terror, suspense y algo de sangre. A pesar de ciertas lagunas y derivas en el guión y el uso a destiempo de la comedia, la película goza de un tono en general que aguanta perfectamente la tensión e incertidumbre de la trama hasta el final de la misma, convirtiendo a este ascensor en todo un devorador y un personaje cien por cien inquietante. Por todo ello, nos hemos juntado Javi García, Carlos Aceituno y Juan Pablo Videoclubsero, para rescatar esta película y dedicarle un buen rato delante de los micros a un tipo de cine que existió y existe aunque no lo veamos, y del cual también se puede disfrutar. ---------------------------------------------------------------------------------------- Escúchanos también en www.remakealos80.com Spotify: https://spoti.fi/2Wf1xqN Itunes: https://apple.co/39QFevv Spreaker: https://bit.ly/39URTOb Facebook https://www.facebook.com/Remakealos80/ Instagram https://www.instagram.com/remakealos80/ Twiter @remakealos80

Posiblemente, después de ver esta película y escuchar el podcast, nunca más quieras volver a subir en uno……………….En este episodio de “Mis Terrores Favoritos”, volvemos a pediros que hagáis un ejercicio de memoria, os dirijáis a la estantería olvidada de serie B del videoclub de los 80 y volváis a alquilar “El ascensor” (The Lift), película del año 1983 que gozó de su mejores momentos en el videoclub. Dirigida por Dick Maas, un director, guionista, productor y compositor holandés del que poco se conoce, esta película y “los Flooders”(1986), pero que sin embargo no ha dejado nunca de trabajar. La protagoniza Hup Steepel, otro de esos actores desconocidos que aquí interpreta a un mecánico ascensorista con dotes de Sherlock Holmes, pero sin duda la estrella es el ascensor, un metapersonaje, con muy malas pulgas, inteligencia artificial y un gran espíritu de venganza por el mal uso posesivo que siempre ha hecho el humano de él, toda una metáfora del uso de los avances en la tecnología, o de la clase social oprimida, o de las personas sometidas o simplemente una buena excusa creativa para el terror, suspense y algo de sangre. A pesar de ciertas lagunas y derivas en el guión y el uso a destiempo de la comedia, la película goza de un tono en general que aguanta perfectamente la tensión e incertidumbre de la trama hasta el final de la misma, convirtiendo a este ascensor en todo un devorador y un personaje cien por cien inquietante. Por todo ello, nos hemos juntado Javi García, Carlos Aceituno y Juan Pablo Videoclubsero, para rescatar esta película y dedicarle un buen rato delante de los micros a un tipo de cine que existió y existe aunque no lo veamos, y del cual también se puede disfrutar. ---------------------------------------------------------------------------------------- Escúchanos también en www.remakealos80.com Spotify: https://spoti.fi/2Wf1xqN Itunes: https://apple.co/39QFevv Spreaker: https://bit.ly/39URTOb Facebook https://www.facebook.com/Remakealos80/ Instagram https://www.instagram.com/remakealos80/ Twiter @remakealos80

De samenwerking met Hyundai en Rob Kamphues. Tips voor Dick Maas. Beef met Roel Maalderink. Handen af van onze content! De samenwerking met nu.nl staat op het spel.

Michiel moet eraan geloven tijdens St. Patrick's Day! Roeland vertelt over een Chinese bioscoophit van niemand minder dan Dick Maas.

Met Trump, de Brexit en Forum voor Democratie is er genoeg behoefte aan debat. En dat merkt ook onze co-host Yoeri Albrecht, directeur van debatcentrum de Balie. Hij was vanmiddag de co-host van Wilfred Genee vanuit de SkyLounge van het Double Tree by Hilton Hotel in Amsterdam.

This episode’s lineup: 1. All the Creatures Were Stirring (2018) directed by Rebekah and David Ian McKendry 2. The Children (2008) directed by Tom Shankland 3. Saint [Sint] (2010) directed by Dick Maas 4. Whoever Slew Auntie Roo? (1971) directed by Curtis Harrington 5. Santa’s Slay (2005) directed by David Steiman 6. Blood Tracks (1985) […] The post 35 – Reindeer Death, Evil Kids, and Fatal Families appeared first on Sticker Fridge Studios.

Het gaat niet goed met de Nederlandse film en voor creativiteit is geen ruimte, zo stellen Flodder-regisseur Dick Maas en Zwartboek-producent San Fu Maltha. In een gesprek met vriend van de show Coen Haver leggen ze uit waar de pijn zit en hoe dit mogelijk te genezen. Eerst een recensie van Hereditary. Is dit echt, zoals de posters beloven, The Exorcist van deze eeuw? 00:00 Introductie 03:03 Recensie: Hereditary 20:49 Cinema Cinemonkey: Utøya 22. Juli 24:08 Interview Dick Maas & San Fu Maltha (Presentatie: Coen Haver) 78:13 Vooruitblik Presentatie: Gudo en John

Merry Dick Maas Everybody! The mince pies have been laid out, the tinsel has been put up, and the Christmas tree - well, let's not talk about the Christmas tree. It's Cinema Eclectica's Christmas Special and we've got a festive trio of movies from around the world. From the Netherlands, Dick Maas gives us a very un-jolly Saint Nick in "Saint". From the USSR, we take flight on our skis with Gennadi Kazansky's "The Snow Queen", and from the seventh circle of hell it's Flamarion Ferrera's infamous animated special "The Christmas Tree". But before that it's time to attend to our Film of the Week, which is James Franco's acting-directing homage to fellow multihyphenate Tommy Wiseau, "The Disaster Artist". Will any of us be able to Like the show? Support it by sharing with your friends or heading over to patreon.com/thegeekshow #Podcast #TheGeekShow #CinemaEclectica #Movies #Films #Reviews #DickMaas #ChristmasSpecial #Christmas #Special #Saint #SinterKlaus #TommyWiseau #TheDisasterArtist #TheRoom #FolkTale #TheChristmasTree #Animtion #Netherlands #TheSnowQueen #JamesFranco #Movies #Films #Reviews #Recommendations #News

This week, Darryll and Desmond return to the oeuvre of Dutch action-horror maestro Dick Maas by taking a look at two of his killer elevator movies. First up, the 1983 understated Dutch flick Der Lift, and then his own American remake in 2001's Down. Actually, they only like one of these movies so they end up talking about it a lot. Then, Devil Dinosaur Jr. invades your home with his Stay Scary of Torment. Tunes included: "Going Down" by The Creepshow, "Waydown" by Catherine Wheel, "Wild Rabbit" by Sean Spillane, and "As the Worm Turns" by Faith No More. RIP Chuck Mosley. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, and www.kccinephile.com.

This week, Darryll and Desmond return to the oeuvre of Dutch action-horror maestro Dick Maas by taking a look at two of his killer elevator movies. First up, the 1983 understated Dutch flick Der Lift, and then his own American remake in 2001's Down. Actually, they only like one of these movies so they end up talking about it a lot. Then, Devil Dinosaur Jr. invades your home with his Stay Scary of Torment. Tunes included: "Going Down" by The Creepshow, "Waydown" by Catherine Wheel, "Wild Rabbit" by Sean Spillane, and "As the Worm Turns" by Faith No More. RIP Chuck Mosley. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, and www.kccinephile.com.

This week, Darryll and Desmond return to the oeuvre of Dutch action-horror maestro Dick Maas by taking a look at two of his killer elevator movies. First up, the 1983 understated Dutch flick Der Lift, and then his own American remake in 2001's Down. Actually, they only like one of these movies so they end up talking about it a lot. Then, Devil Dinosaur Jr. invades your home with his Stay Scary of Torment. Tunes included: "Going Down" by The Creepshow, "Waydown" by Catherine Wheel, "Wild Rabbit" by Sean Spillane, and "As the Worm Turns" by Faith No More. RIP Chuck Mosley. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, and www.kccinephile.com.

This week, Darryll and Desmond return to the oeuvre of Dutch action-horror maestro Dick Maas by taking a look at two of his killer elevator movies. First up, the 1983 understated Dutch flick Der Lift, and then his own American remake in 2001's Down. Actually, they only like one of these movies so they end up talking about it a lot. Then, Devil Dinosaur Jr. invades your home with his Stay Scary of Torment. Tunes included: "Going Down" by The Creepshow, "Waydown" by Catherine Wheel, "Wild Rabbit" by Sean Spillane, and "As the Worm Turns" by Faith No More. RIP Chuck Mosley. Send feedback to: dreadmediapodcast@gmail.com. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Support the show at www.patreon.com/dreadmedia. Visit www.desmondreddick.com, www.stayscary.wordpress.com, www.dreadmedia.bandcamp.com, and www.kccinephile.com.

Speaker 1:                        Hi everyone. As a quick introduction, this is the full length recording of Anwar Chahal's interview with Calum MacRae from August 2017. A portion of this interview was included in episode seven of the Circulation Cardiovascular Genetics podcast "Getting Personal: Omics of the Heart". As we couldn't fit everything into that regular podcast episode, we've released the unedited version as a special, feature-length podcast. Enjoy. Dr Anwar Chahal:            My name is Dr. Anwar Chahal. I'm a Cardiology Fellow in Training from London, U.K., and I'm doing my research fellowship here at the Mayo Clinic, and I'm very honored and delighted to have our guest, Dr. Calum MacRae. I searched for Dr. Calum MacRae's biography online and it came up with a Wikipedia page talking about somebody who's a rugby coach. So, Dr. MacRae, I hope that's not another one of strings to your bow, that's something else that you manage to squeeze in amongst everything else that you do in your busy and punishing schedule. Dr Calum MacRae:          I did play a little rugby in my day, but I haven't coached any, I can assure you. Dr Anwar Chahal:            So, you are the Chief of Cardiovascular Medicine, you are an MD, PhD by training, and you are Associate Professor at Harvard Medical School, and your expertise, amongst many other things, internal medicine, cardiovascular diseases, but in particular, inherited cardiovascular conditions. Is there anything else that you would add to that? Dr Calum MacRae:          No, I'm a big fan of generalism, and I am quite interested in cardiovascular involvement in systemic disease as well, but largely as a means of keeping myself abreast with the biological mechanisms in every system that seems to be relevant to cardiovascular disease. Dr Anwar Chahal:            So, that reminds me. Once I heard you talk, and you mentioned to all those people that were considering cardiovascular genetics the importance of phenotype and actually how people have become increasingly super-super-specialized, becoming the bundle branch block experts or the world's authority on the right coronary cusp of the aortic valve, and how things were now going full-circle as people actually need better and better, more general understanding so that we can accurately phenotype. And you once joked that you'd actually done residency three times, so you know the importance of having a good generalist base, so could you expand a little bit on that? Dr Calum MacRae:          Well, I have to tell you, it wasn't a joke. I did actually do residency three times. But, I think the most important element of that theme is that biological processes do not, unfortunately, obey the silos in which medical subspecialists operate. So it is increasingly important to have a broad-based vision of how phenotypes might actually impact the whole organism. That's particularly true because it helps us ratify disease, so that there are mechanistic insights that come from the different cell types and tissues and biological processes that are affected.                                            I think, in general, that is something that we've all appreciated, but as time goes by and people become more and more specialized, it's less regularly implemented in day to day clinical practice. And so, particularly as molecular medicine becomes more and more penetrant in clinical disease management, I think you're going to see a return toward some generalism. Obviously, procedural specialties are the exception in many ways in this setting, because you need concentrated procedural skill. But in general, particularly for translational scientists or scientists who are interested in the underlying mechanisms of disease I think, I see a general movement towards a degree of generalism. Dr Anwar Chahal:            Indeed, and in terms of, as you say, trying to understand those disease processes and trying to, let's say for example, make sense of the incredible amounts of information that can now be gathered with genomics and high throughput omics, you believe that it is actually more of a requirement to be able to understand that now that we can gather this high resolution and broad depth of data? Dr Calum MacRae:          Yes, I agree. I think one of the core elements of modern clinical medicine is that the phenotypes have, in the last 50 to 100 years, we've really focused more on improving the resolution of existing phenotypes than expanding the phenotypic space. To be completely frank, I think we've extracted a lot of the information content that we can from the phenotypic space that we've explored, and what we need to begin to do is to find ways to systematically expand that phenotypic space.                                            I think there are a lot of reasonable ways of doing it just by thinking about other subspecialties. So, for example, in cardiovascular disease, we've focused very heavily on anatomy and physiology, but we haven't really done much in the way of cell biology. Whereas, in immunology, partly because there's access to those cell types, it's possible to do much more detailed cellular phenotyping. In neuroscience, we're now doing functional MRI, and looking at individual subsets of cells in the brain, and their function in the context of particular challenges.                                            My general thesis would be that the type of strategy would serve us well and that there's also, I think, an important mismatch between the dimensionality of phenotyping that we currently undertake and the scale of the genome and epigenome, transcriptome, et cetera. So, it's not surprising that we can't be convoluted genome of 10 to the nine variants with a phenome that are present only really has about a 10 to the four phenotypes. And so, I think some systematic right-sizing of that balance will be necessary.                                            There are lots of things that we record that we don't even think of as phenotypes, and there are phenotypes that we record that we don't really think about how to optimize the information of content. And so that's one of the things that we have begun to invest time and energy in. And thanks to the support of the American Heart Association, Verily, and AstraZeneca, as part of the One Brave Idea, we have elected to fully focus on that area in particular in coronary disease. But I think it's a generalizable problem with much of modern medicine that we tend to have focus on phenotypes that, in many instances, date back to the turn of the last century rather than to modern molecular and cellular biology. Dr Anwar Chahal:            So, you beautifully brought us to the first question, which was to ask you about One Brave Idea. Could you just, for our listeners who aren't familiar with that, just give a little bit of a background on One Brave Idea, and you've already thanked the people who have funded that, but how did you actually reach the point where you thought that this is something that really, really needs to be done? What's the process of reaching that point of bringing this idea to fruition? Dr Calum MacRae:          I think we had recognized in many instances that the families that we were seeing in cardiovascular genetics clinics were much smaller, the diseases appeared to be less penetrant than the original families that we studied when we cloned many of the disease genes. This was work that I did as a post-doctoral fellow in John and Christine Simons lab many years ago.                                            One of the things that was pretty obvious was that there were subtle pre-clinically or sub-clinically affected individuals in almost every family. And that made me ... That implies that the average family is so different from the extreme family. Is it something to do with either the resolution with which we were assessing disease or are we actually just measuring the wrong elements of the underlying genetic trait? So that, for example, is a dilated cardiomyopathy family actually a family that is susceptible to dilated cardiomyopathy in the context of some unmeasured conditioning variable, maybe a viral infection or an exposure. And because we're not measuring the exposure, or we're not measuring the underlying diaphysis, we're only measuring the final state, so we only classify people as being affected if they actually have an extreme phenotype. Are we, therefore, missing the core elements of the biology?                                            As part of doing that, we began to look outside the heart for other phenotypes, and one of the things we recognized ... This was in cardiomyopathy ... Was that different cardiac phenotypes were really aggregates of much more granular, multi-system phenotypes. So there would be families who would have dilated cardiomyopathy, but they would also actually have abnormalities, for example, of the distal interruptus muscles, and no other muscle group in their entire body. And in fact, the distal interruptus muscle phenotype was much more obvious than any cardiomyopathic phenotype.                                            So you start to understand that either other extra cardiac or electrical phenotypes, or maybe even sometimes neurofunction phenotypes are more penitent features of some of these disorders, albeit rare disorders. And so that immediately leads you to think are most of the common traits that we look after really aggregates of things that really only share the relative frequency of the core phenotype, which often dates back to decades earlier when phenotyping was at a much more superficial level.                                            So that vicious cycle perpetuates itself if we never look more deeply or look outside the constraints of a particular subspecialty. And so we have begun many, probably almost four years ago, to build a sort of next generation phenotyping clinic where we tried to bring either cell biology or molecular biology from outside the heart into phenotyping patients in a cardiovascular clinic. That idea was in our DNA, that's probably not the right way to say it, but it's something that we had worked on in a cardiomyopathy setting. Dr Anwar Chahal:            Right. Dr Calum MacRae:          And so then when the RFP for One Brave Idea came out, it seemed like a natural expansion of that to try and think about how you could apply new phenotyping in current disease. One of the inferences from that line of thought is to move, essentially, beyond ideally much upstream of the shared final common pathway so that you can begin to identify discreet underlying mechanisms.                                            And then, given the success of cardiologists, and cardiology in general, in prevention, it became obvious that really what we wanted to do was to try and understand not just disease, but also wellness. And to do that in a way where we could potentially detect the transition from wellness to the very first stages of the disease or the diseases that we have labeled as atherosclerosis or coronary artery disease.                                            That was the genesis of the central idea of the application and something that, obviously, we were excited to get the chance to pursue as a result of the generosity of the funders, and the vision of Nancy Brown at AHA and Andy Conrad at Verily, to not only award funding in a different way, but to also really try and drive us to think differently about how we executed on a research product. How we move forward, not with a five-year plan, but with a rapid cycle early hypothesis testing, fail fast and fail early, if you are going to fail, strategy. Rethink not just the focus of the research project, but the mechanisms by which you execute on it.                                            I think one of the core elements of this is, obviously, we want to make sure in doing this that we build on all of the incredible work that's been done in the last 25 or 30 years in coronary disease, whether it's the pharmacologic work, or the genetics work that has emerged in the last few years. Those are all important building blocks, and what can you do that leverages all of that existing data and adds to it? Phenotype is obviously one of the most important areas where you can bring something to the table that add to existing genotypes and also layers in on top of existing pathophysiologic models.                                            From my standpoint, it was an efficient strategy, and one that we hoped would also help us engage the people throughout the community in different ways of using data that might already have been collected or we were going to be able to collect for the first time. Dr Anwar Chahal:            In terms of One Brave Idea, where is that right now in terms of execution, as you mentioned? What's the progress so far, and is anything that's come out already that you can share with us? Dr Calum MacRae:          Yeah, of course. So we have begun a variety of different approaches to thinking through the best way of exploring this phenotypic space. One of the obvious things is you can take a couple of strategies to move into this unknown unknown. One of them is to take an incremental approach to move slowly from the areas where we have already established knowledge, and to move into new areas from that home base. And the other is to take a more agnostic strategy, which is to say are there orthogonal ways of thinking where you could look at a particular type of biology in a very focused way in coronary disease. You can define that in lots of different ways. You can say maybe we do it at an organelle level, or maybe we do it at some orthogonal component. The microbiome might be an obvious one. Another one that has been considered would be nutritional or other common environmental exposures.                                            The nice thing about the flexibility of the funding is that we can afford to test multiple different hypotheses early on, see which of them has the best signal, and then invest more deeply in those that have shown early signal. At the moment, we have multiple active projects that are really testing those initial hypotheses. Is there a way of moving from the known genes that cause coronary artery disease and trying to understand are there novel phenotypes that are associated with those. And then another approach would be to take people with very early or pre-clinical disease and test areas of biology that have never been tested in atherosclerosis or in coronary disease in a systematic way.                                            We could imagine lots of ways of doing it, but you might think about, lets say, looking at endocytosis, a process that we know already is affected by the core genes in familial hypoglycemia, but we've never really found ways to measure that in a rigorous fashion. In large populations of individuals, are there different ... Well, we know already there are different forms endocytosis, but are there discreet port ablations that might affect those.                                            Another way of looking this might be to pick an organelle. Pick the peroxisome, or pick the nucleolus, pick some other element and ask how does the function of this organelle change in individuals who have early coronary disease. Where its boring each of these types of things systematically, and trying to learn not just which are the most important areas to focus on, but also trying to learn are there strategies that are useful that you could use in another disease. In other words, are there generalizable approaches to expanding phenotypic space that makes sense.                                            I think one of the things that perhaps we underestimate about a genome is that it is the only bounded dataset in all of biology at the moment. There are no other bounded datasets. There is an infinite number of potential exposures. There's an infinite number of potential phenotypes that we could record, or at least as far as we know, are there ways of beginning to establish the boundaries of the phenome, the boundaries of the exposure or the exposal and how do we begin to do that in a way that efficiently yields new information. That's where we, as a consortium, have focused in the last few months.                                            We're also, obviously, investing time and energy in thinking how do we begin to remodel the way in which research is evaluated and funded. The strategy that we've taken there is almost like a not-for-profit venture fund where we try and bring in ideas that we think might be able to leverage what's known already and move the field faster towards new pathways or new approaches to prevention, which are the core deliverables of the One Brave Idea award. As part of doing that, we obviously get the chance to interact with lots of exciting and creative scientists and that's something we're looking forward to doing in lots of different venues. We're reaching out to lots of people and lots of people are reaching out to us. We're trying to find ways to evaluate and prioritize science and then bring that science to fruition through novel approaches to funding it, either directly or as a joint venture with a foundation or some other funding source, or even as a joint venture with a commercial partner to try and move the field forward as efficiently as possible. Dr Anwar Chahal:            Thank you very much for that, and I'm sure we all eagerly look forward to the results that are going to be coming out from One Brave Idea over the next few years. I'd like to now move on to genomic medicine training and you were involved in a statement that was put out regarding this. I think training across the world has increasingly recognized the importance of genetics and genomics, but I just want to share one little anecdote.                                            My wife is a primary care physician, and I was visiting the GP practice where she works, and she'd mentioned that I had an interest in genetics and genomics. One of the partners came out with one of these reports that a patient had sent their sample to a private company, got this analyzed, brought it in to the clinic appointment and asked for an interpretation. The GP partner said to me, "I've absolutely no idea what any of these numbers, values, et cetera, mean, and I actually am looking forward to my retirement, because I really don't want to have to cover all this. Can you help me with it?"                                            I sort of remember hearing Dr. Weinshilboum talk here at Mayo Clinic, who's really pushed forward pharmacogenomics, and he's been arguing for quite some time, as I've heard you say as well, that genomics and genetics is just going to be a part of the medical record in the same way that hemoglobin or a chest x-ray is. People better catch on because it's here, it's available commercially. People can send their samples directly, without the doctor's involvement, and then it's trying to make sense of all of that.                                            I think, as a community, research and clinical, we have to take this very seriously. I'd be grateful for your insights on that, and then if you could then tell us what would be the best way for the up and coming generation and for programs to incorporate that into their training? Dr Calum MacRae:          So, I think you're right. There is a general tendency in the public domain to test a variety of different genotypes. And in many instances, I think, the key elements are how do we as a profession, conceive of these tests? I think one of the things that we forget, perhaps at our peril, is that many of these things are problems that we've encountered before. There's a natural cycle of different tests in medicine where they start off in the academic medical centers, they propagate into the periphery, and then eventually they're assimilated as part of internal medicine.                                            I think the scale of genomics is obviously somewhat broader than many individuals have seen in the types of data that they deal with on a day to day basis. But I think that's something that's happening in everybody's life. In every aspect of your life, you have many more channels to deal with. You have many more choices in the supermarket to deal with.                                            So, I don't see this as a sort of existential challenge to medicine. Quite the opposite. In my experience, the core things that we need to remember is that DNA is no different from any other assay except for the fact that it's relatively straightforward to do DNA diagnostics. It's technically not as sensitive a set of biochemical issues, as are many other assays that we use in day to day clinical practice.                                            The other thing that I think is perhaps a key element is it, as I said a few minutes ago, it's a bounded dataset, and it's stable for your whole life. You only need to have it tested once. So, to sort of invert the typical diagnostic paradigms, instead of a primary test being interpreted in the context of an ongoing clinical event, the test may have been present for decades, and the result will evolve over time, in light of the changing phenotype or some new information with respect to that genotype.                                            What I've actually looked on genomics as is almost an organizing principle for the way that you build care. In fact, I see quite frequently, we now probably have an average one or two new patients a month in my clinic who bring their entire whole genome with them, either an axiom or a whole genome. And so, we've begun to really get to know quite well how to manage patients. Obviously, there are a selective of patients. But one of the things that I have found is that patients are really quite astute in understanding that genotype and phenotype are not deterministic relationships. What you have to do is always interpret these things in context of a probabilistic understanding.                                            Most patients, I think, when they're told this, understand that we're going to learn much more about genomics going forward than we will ever imagine we could know at the present. That will involve lots of different things. It will involve new ways of displaying data, new ways of thinking about the data in the clinical context. I actually think one of the most interesting things about genomics, and to be honest, any assay is that they rarely reach any form of maturity until they are used in the clinic, until they are actually used in implementation. For example, many genetic tests at the moment, don't change therapy and they don't change outcomes. But partly, that's because they've never been studied in that context.                                            One of the things that I think Glen [inaudible 00:26:58] has to be really congratulated for is his focus on pharmacogenomics as being one of the early areas in which this will really move forward. I believe that by immersing ourselves in it, by actually trying it in the clinic, we're going to learn much more.                                            Part of that gets back to the original topic that we spoke about, which is phenotype. The only way to really begin to understand collection of phenotype is if you do it in the context of existing genotype, I think. And so, as we move into new phenotypic areas, we're not going to be able to test everything and everybody. I think there, the genome will end up being an important framework, lifelong framework for the management of a patient's diagnosis, prognostication, and then therapy, potentially in that order.                                            I think you need a whole different set of skills. You need a whole different set of technologies. But most importantly, you need information that you can interpret in the context of the person in front of you. Until you can make mechanistically important insights with one person, it's going to be very difficult for genomics to really change medical care. That's something that I think we should be focusing on.                                            I think we've tended to have an associate of strategy for genetics. We haven't driven it into the clinic. As we drive tests into the clinic, whether it's troponin T or whatever, you begin to understand much better how to use them. Although, sometimes, that can also go in quite extreme directions that you may not necessarily anticipate. Troponin originally was a stratification tool for acute coronary syndromes, and now it's virtually a diagnosis in its own right. And I think you'll see that tendency revert over time as people begin to understand the biology of troponin, of isoform switching, and peripheral tissues of the way in which troponin may represent very different disease biologies.                                            At the moment, it seems like it's a very simple and straightforward yes/no type of test. There's no such thing in medicine, and I think that's what we're learning about genomics. Instead of conceiving it as a series of ten to the nine yes/no tests, we're going to end up with a very different vision and view of how it can be implemented in clinical practice. And that can only come from having clinicians and geneticists work together on this. In fact, one of the things that we've been doing in the partners environment with some of our colleagues, and I have NIH funding to do this with Heidi Rehm, with Sandy Aronson, and with Sean Murphy, is to think about how we display data, but also how we collect information in light of that genomic data that helps in an iterative way and a learning fashion, informed genotype/phenotype relationships in a much more probabilistic manner than we have done to date. There are lots of efforts in that space, that just happens to be one that I'm involved in. But I think it's a generalizable approach that you're going to see moving into the clinic in the next few years.                                            From the standpoint of training, I think what you want to do is to get exposure to all types of genetic information so you understand common alleles, rare alleles, genomics, and individual panels. I think the best way of doing that is to have that be part of training programs. In fact, with one of my junior colleagues, Dr. Aaron Aday, we recently wrote a short piece highlighting how important it will be for all of us to come together to think about how do we start to introduce the concepts of genomics into standard clinical training programs. And that's something we're working on fairly avidly at the Brigham, and I'm sure there are ... I know there are efforts at many other institutions to do similar things. Dr Anwar Chahal:            That article was published in Circulation in July of this year, if anybody wants to download that. I think if we talk to clinical trainees and ask them what are their concerns about training, as you know, training can be very long in cardiology, which is a procedurally based specialty, whether or not you become an invasive proceduralist at the end of it, there is that component at the beginning. Do you think a standard, in the U.S. a standard three-year program with two years of clinical and one year of research, can incorporate that at a sound enough level to allow somebody to practice? Do you think we're going to look at increasingly a one-year, or a six-month, sort of add-on fellowship for those interested more on the inherited side or more on the genomic side?                                            I, like yourself, trained in London, and the training programs are longer in the U.K. It was probably six years when you were there, it shortened to five, and now increasingly, it's going to become six and maybe even more with a general fellowship for five years, and then a super-advanced fellowship. Inherited cardiovascular conditions, certainly there, has become a module that is encouraged for people to take and then become somewhat certified in inherited cardiovascular conditions. What do you think there, in terms of incorporating all of that as well as learning basics of echo, and device therapy, and catheterization, what are your thoughts? Dr Calum MacRae:          Again, I look at this as a spectrum. There's a trajectory for all of these types of innovation and knowledge. It starts off being super-specialized, it goes into a more general location, and then eventually, it's an integral part of everybody's clinical practice. I do think that what you're going to see is rather than, and this is already, I think, the case in many elements of medicine. Medicine has already exceeded the knowledge base, even when I was training, by probably a log order in terms of the complexity and extent of content, not that I trained that long ago.                                            One of the core elements that I think that we're seeing is that we need to move medicine from what I believe has become somewhat deprofessionalized state, to one where you're actually focusing not on the actual core knowledge that you bring with you to the table, but actually the way in which you integrate knowledge. So, I think the focus of training is going to change somewhat. It has had to change in other fields. Medicine, I think, for a long time favored that sort of single, comprehensive approach in one mind. And medicine is going to become more of a team sport, and it's also going to become more of a knowledge integrator profession that it has been for some time.                                            It's interesting, when medicine started, there was so little knowledge that you really had to have almost every physician be an experimentalist using [inaudible 00:34:48] of one experiments in front of them. I think the way that I see medicine evolving is that as the knowledge base and the rigor of that knowledge base improves, many of the things that we think of as professional activity today, will actually devolve through primary care and, to be honest, into the community. There are many things where the rigor of the underlying [inaudible 00:35:12] are as such that there's no reason for a licensed provider to be involved. We allow our patients to install their own wireless networks without a technician. I'm sure most of them could look after their own lipids pretty effectively if they were given the right information.                                            So, a lot of stuff will begin to move in that direction. And as that happens, I think the way in which information is displayed, the way in which data are collected, and the workflow around integrating information will change. That doesn't get past the point that you brought up, which is that that will probably take a couple of decades, and in the interim, I think people are going to end up training in modules of subspecialty, but I think one of the things that I sometimes like to ask myself is what's the end game? Where is this going to end up? And can we build systems that train directly for that end game, rather than going through these intermediate steps. I think that's something where I think we tried, in the short piece that we wrote in Circulation, to argue that everybody should have some exposure, and that that exposure can change over time. We should be equipping people, not to know genomics, but to be able to learn how genomics is impacting their patients for the next 50 years.                                            That model of professional training is actually the one that really was the dominant model until maybe 100 years ago. And then, for reasons that don't quite seem obvious to me at least at the moment, we sort of tended to slowly move to more of a learned knowledge base that was then applied. Physicians sort of steadily got to the point where we're now data entry clerks. The actual amount of professional and intellectual engagement has, I think, slowly diminished in many medical subspecialties and medical specialties.                                            The opportunity that genomics and other advancements in technology in medicine bring is the chance to, I think, reprofessionalize ourselves to move from just simply defining ourselves in terms of the knowledge base that we each bring to the table, but defining ourselves rather in terms of how we put the knowledge together around individual problems and individual patients. It's a very much more patient-centered biological approach than perhaps we've had over the last couple of decades.                                            I think these are ... I'm obviously stating a lot of this somewhat in extremes, but I think that these are general trends that you see in medicine. They've happened in other fields as well, and people have overcome them. It's usually a function of changing the workflow itself, of changing the way in which the information ends up in the professional's hands and how you collect the data that you use, then, to interpret the existing knowledge. That, I believe, we haven't really reworked probably since Ozler's time.                                            It is amazing that we still have workflow ... I mean, it's amazing in lots of ways. It's an amazing tradition, but it is quite interesting that we still have workflow that is probably largely dependent on what Ozler liked to do when he was growing up in terms of the times of day that he got up and his workflow. That's sort of instantiated in many ways in everything that we do. Nothing entirely wrong with it, but there's a lot happened since then that we haven't really changed. Medicine is not yet, in many instances, a 24/7 profession, and yet most other things that have much less in the way of impact on society, are already 24/7 professions in many settings.                                            So, I think you're going to see a lot of demographic changes in medicine that come from the advent of technology and other industries. And I think those will all transform the way that we imagine training in medicine, along the same sort of timeline as some of the traditional approaches that you described, building out a training module and then having a subgroup of people do a six-month or a year of extra training. I see that as a short-term solution. I think, ultimately, longer term solutions are changing the whole workflow of medicine. Dr Anwar Chahal:            What have you done in your own program at the Brigham to introduce genomic medicine training for fellows? Dr Calum MacRae:          We are building out ... Obviously we have a fairly large cardiovascular genetics clinic. I think probably the largest in the world. We have now seven, soon to be eight, providers working only and wholly in cardiovascular genetics. We therefore have the ability to have our fellows rotate through our genetics clinic. We have inpatient and outpatient genetics services. And we also, obviously, involve our fellows in a lot of the academic pursuits going on in both our genetics and genomics programs in the cardiovascular clinic.                                            As we do, our colleagues are no longer in training. We have regular, in our clinical conference slot, we have, several times a year, a genetics component. And then, what we have also, is an integrated training program with clinicians and pathologists that is really bringing the individuals who are understanding the technical aspects of the genetic testing with the individuals who are learning and understanding the clinical aspects of that testing. And so, we imagine over time that this will evolve into potentially the type of specialist module that you described. But also, into a fixture that goes all the way through our two-year clinical training program.                                            We've sort of taken the point of view that we probably need to do a bit of both. We need to, given what I've said in the last few minutes, that we need to take a thread that recognizes a short term and intermediate term need for specialization, but also recognizes that we have to equip every one of our trainees, and every one of our physicians with the ability to begin to learn the underlying sides of genomics, and the underlying approaches to using genomics in every aspect of clinical cardiology. And so, we're doing both of those things, and have active efforts in both. Dr Anwar Chahal:            You mentioned integration with pathologists, but for our colleagues who are not clinicians, what about the research angle, and the scientists, when they're in training? Is that integrated so that we are getting this meeting of minds that is essential? Dr Calum MacRae:          Absolutely. In fact we, thanks to a variety of efforts at Brigham Women's, we have now at least three separate venues in which this occurs. I mentioned cardiovascular genetics clinic. We also have a genomic medicine clinic, which I'm one of the clinical co-directors for, where we actually have cases that come through routine clinical care that seem as if they would benefit from whole genome or whole axiom sequencing. And then we have a weekly conference that's actually led by Dick Maas and Shamil Sunyaev, two of our genetics colleagues, and taped in specialists from Althrop Medicine as well as scientists from the entire Harvard Medical School environment. So we bring everybody together around mechanistically solving individual clinical cases.                                            And then the third venue is one that's part of a national network, the Undiagnosed Diseases Network. We are one of the sites on the national NIH-funded UDN network. And there again, one of the themes is identifying individuals or families who would benefit from both rigorous genomic analyses as well as much deeper phenotyping. That's been a program that I think has been very exciting, and one that we, again, have learned a huge amount from in terms of how do you begin to build the infrastructure that brings, not just the fresh clinician to see the patient, but somebody who ... A whole team of people, who understand and can evaluate all the biological aspects that are relevant in that patient.                                            It also brings to bear the scientific expertise that you might need in order to make a mechanistic connection between genotype and phenotype in that one individual. And some of that involves animal remodeling. In cancer, for example, there's a concept that has emerged over the last two to three years of what's called co-clinical modeling. Once you've identified some of the genomic features, it allows you to begin to model in an animal, in parallel with the trajectory of the patient, and individual [crosstalk 00:44:54]- Dr Anwar Chahal:            As some people call them. Dr Calum MacRae:          Exactly. Creating an avatar. And in many instances, that's an avatar that includes multiple different disease models. We have begun to do that in the cardiovascular space. I think, obviously it's early days yet, but I think there are lessons to be learned about how you build the types of infrastructure that allow people to move beyond this state where a patient's outcome is dependent on him seeing the right doctor, on the right day, at the right time.                                            There are actually systems that funnel the patients into the right venue based on objective criteria at every stage. I think that's the type of reorganization, re imagination of the medical system that we need. We sort of duplicate things in lots of different areas, and you're still dependent on hitting the right specialist, on the right day, at the right time. Or not seeing a specialist. Seeing a generalist on the right day, at the right time, who is able to put everything together. Or even hitting somebody who has the time to listen to your story in a way that helps you identify the exposure or the genetic basis of your condition.                                            If we recreate the professional environment that I talked about earlier, I think in ways that are both traditional and novel at the same time, I think we will do ourselves a great service and build a platform that lets all of the technologies, including genomics that we've talked about today, begin to impact patients in a real way on a regular basis. Dr Anwar Chahal:            Thank you for that. One question I think is important to look at from the other side, you've gone from One Brave Idea to one revolution in medicine if I can be so bold. You mentioned so many other services are 24/7. You give an example, you can book your hotel in Shanghai sat in the Midwest, and you can change your booking on an app on a phone, and yet in medicine, it's so difficult to arrange an appointment. We have resisted that 24/7 service, aside from the acutes. But for the sort of chronic workload that we have, the 24/7 model has been resisted. What do you think are some of the challenges? Because I can almost hear members of our profession saying, "Well, who wants a 24/7 service and who wants to provide that 24/7 service?", and is it always necessary to have that 24/7 service?                                            As you say, so many things, such as hypertension treatment, you mentioned lipid management, could actually be done reasonably well by patients who are well trained. And certainly in heart failure, you can teach patients to take their Furosemide or their Lasix by weighing themselves and adjusting it, and can do it relatively well, and relatively safely. What do you think are the challenges to get the profession to realize that this is what's going to happen, and they've got to get on board? Dr Calum MacRae:          Well, I don't think you want to make it somehow mandatory. I think there are elements. Every patient is different. I think that's something we've used as a chivalrous for many decades as a profession. The reality is that we don't do very well. It takes, from the time a medication hits the guidelines, not the trials are finished, but the time that it gets accepted into the guidelines, let's say as a Class I recommendation. The average time to reaching equilibrium in the population is 12 to 15 years in cardiovascular disease. So you'd hate to be the person who got that drug in the 11th year, if you actually end up having your event in year three or four. And yet you can upgrade software for your phone, and hundreds of millions people upgrade it in the first couple of days after a release.                                            So, we have to build systems that allow us to be as efficient as every other element of our lives, and yet don't, in any way, diminish the importance of the personal interaction, the healing interaction that comes from a patient provider encounter. I think we do ourselves a disservice if we just imagine everything in exactly the same way as it's always been. A lot of it just requires us to make relatively modest changes to the types of things that we do, and to cede some control over some elements of it.                                            People are not dependent on making cyclical appointments to have doses of drugs tritrated. But once we've identified that a drug needs to be on board as a result of a primary indication, that we allow the titration to take place in an efficient and cost-effective manner. I think a lot of what we do is driven by how we get paid. A lot of ... And that's not criticism, it's natural in every single profession on the planet. You do things the way that the system is set up to have them be done.                                            And so, I think with relatively little in the way of systems engineering, you can have a 24/7 system without having 24/7 physicians. There are some areas, obviously intensive care units, where you do have 24/7 coverage already, but people are so used to having asynchronous care that being able to literally come home after a night shift and make their reservation for a restaurant the following evening, on their phone, often on another continent, it is a little bit strange that we literally can't book patients into your own clinic without calling up a couple of people.                                            I just think that some of this is resistance for resistance's sake. Some of it is people actually simply restating the things that we all believe are important parts of medical encounters. I think we just have to be creative about how we move from here to there. I think the thing that I find perhaps most interesting is that somehow the creativity of physicians is not fully exploited. We haven't really asked doctors and patients to come up with new approaches to how care is delivered, to how patients are seen. But I think if we allowed venues where that could happen, that would be actually the way in which we would evolve a very different system.                                            I think some of that, as I said, just goes back to the way in which everything is structured. All of the payment models, all of the ... Even the types of places that we see patients, are very much anchored in history. They're legacy items and there are lots of reasons why that's the case. Medicine, you can't show up with a minimally viable product. You need something that works perfectly day one, because of the liability. And so, what we need are just to rethink the way in which we even move medicine forward. What we know we can't do is just keep doing what we're doing, and changing modestly, rearrange the deck chairs.                                            What we need to actually be able to do is find places where we can actually, or venues where we can change things and test new models of care in a relatively low risk situation. I think you already see lots of payers, the federal government, and the NIH all thinking about how you can do that. Some of the [inaudible 00:52:55] efforts, some of the ... Even the NHGRI efforts in genomics. One of the nice things about genomics is because it's a new tool, it allows you to reinvent the way in which medicine is delivered. And so, I believe things as diverse as the precision medicine initiative, and as some of the most fundamental ways in which NIH funding is being restructured, will all potentially impact the way in which creativity and innovation start to evolve within the healthcare system.                                            I don't want to sound revolutionary. We're all doing all of this, all of the time. It's just not structured in a way that seems to very efficiently reach reduction to practice across the entire medical ecosystem. Part of what I think we need to do is, as a profession, build better ways of identifying where the innovation is occurring, and I will tell you I think it's occurring almost evenly across the entire medical universe, it's just that it doesn't propagate. All medicine, at the moment, is quite local. I think the things that you start to see happening in the industry that will change it are the fact that medicine is becoming much more like every other area of endeavor. It's becoming linked by technology. And once information flows more efficiently, I think a lot of the things that sound as if they're revolutionary, will end up actually just seeming like a series of obvious conclusions, based on the information that we've gleaned from early outlets or success stories.                                            Many of the things that I've mentioned today, they're not revolutionary at all. There are entire healthcare systems that use these approaches. But they just haven't become generalized because of the way that medicine works. And so, I think that's one of the reasons that I'm a believer that technology in particular will have a transformative effect, just on the way that doctors talk to other doctors or relate to their patients, and the way in which creativity and innovation propagate through the medical system will change very rapidly as a result of that.                                            And that's one of the great benefits of the electronic health record. I don't think EHR's now are perfect. In fact, in many ways, they're where other industries were 15 or 20 years ago. The supply chain in many large retail organizations was much more sophisticated in the mid-80s than the average EHR is. But what they've done is begin to collect the data in the right place, and in the right way, in a structured format. But as technology begins to cut across different EHR's and across different healthcare network, you'll see things, synergies begin to emerge that will accelerate the pace of change.                                            It's not by chance alone that medicine has attracted different types of people over the last 50 or 100 years. I think they'll just see the types of individuals that come to medicine be more diverse and more distinctive, and that also I think will help. More distinctive in their skillset, and that will help accelerate change in ways that again, will seem far from revolutionary fairly quickly. Dr Anwar Chahal:            Thank you for that. I wanted to come to the last section of the podcast, and sort of back to where I said it was joking, and you said I wasn't joking about doing three residencies. So, could you tell us a little bit about your own training and your own path? Originally from Scotland, through to London, and then over to the U.S.                                            And also, if you could share some of those pearls that you've picked up that aren't obvious to us in books, or sometimes are so obvious that they're elusive and not always apparent to young, up and coming trainees, both on the research side as well as the clinical. Dr Calum MacRae:          Yeah, sure. I trained in [inaudible 00:57:15] which had I think a very healthy attitude to specialism and generalism, and the relationship between them, and instilled in all of the specialists the need to always maintain some general medical capability. To this day, I still intend on general medicine for that reason.                                            I then moved, I did cardiology training in London, and was fortunate to work in a couple of hospitals, one of which had a very interesting, I supposed, quaternary care clinic which had extremely complicated patients. That's where I did my second internship, at the Ross Graduate Medical School in Hammersmith. And everybody who was an intern in that setting had already basically been board certified in internal medicine, so they'd all finished their medical training, come back to do an internship in that setting.                                            And there, I saw some amazing cases. There was an entire service for carcinoids, there was an entire service for many rare and wonderful diseases. At that point, you began to see how super-specialist knowledge can be incredibly helpful. But it can also be restrictive if it's not applied in the right way.                                            And then I did cardiology training at St. George's Hospital in London with some amazing mentors. John Camm, who many people will know from his work in atrial fibrillation and sudden death. David Warr, another very well known electrophysiologist, one of the early pioneers. Bill McKenna was my primary mentor, and he was somebody who had worked on the very earliest descriptions of hypertrophic cardiomyopathy when he had originally been at the Hammersmith, and then moved to St. George's.                                            He taught me a lot about, well many things. First of all, focus in your career, understanding the skillsets that you needed to accumulate in order to a) build a distinctive portfolio and b) to maintain your relevance by accumulating new skillsets as you move forward. And he had actually established a collaboration with Simon's. That was one of the reasons that I ended up moving to the U.S., and had a fantastic time with John and Cricket, at one of the earliest times in genetics moving into cardiovascular disease.                                            I learned a huge amount from colleagues, at that stage, both at the bench. Hugh Watkins is now chair of cardiology and lecturer of medicine now in Oxford, was a bay mate who was there a couple of years ahead of me and I learned a huge amount from him. I realized ... My wife is from New York City, from Long Island rather, and I realized I had to probably stay in the U.S. for those reasons, and I retrained at that stage in internal medicine again at the Brigham where mentors such as Marshall Wolf and, actually cardiology mentors at that stage were people like Punky Mudge and Pat O'Gara, who then helped me to adapt to the U.S. system.                                            The only thing I will tell you is that I don't think I ever learned as much as I did in each of my internships. I think the learning curve is incredibly steep. I'd been out of clinical medicine for four or five years, focusing on the lab, before I went back to my third internship. But I still think it was one of the most amazing experiences, largely because of the fact that you learn from every colleague, and you learn from every patient. I think if you go through most of your life thinking like that, I think you can end up doing very well.                                            Actually, one of the other things that's really important is actually emphasizing those personal connections. The first fellow I had at Brigham and Women's when I was an intern was Joe Hill, who's now the editor of Circulation, the chair of cardiology at UT Southwestern. Almost everybody that I know in cardiovascular medicine, I've encountered in those types of settings. Either in training settings, or in research collaborations, or at research meetings. You just begin to see a whole list of people that have worked together in different ways, and have learned from each other. I think that's one of the most powerful things to take away from research or clinical training.                                            I then was fortunate enough to get the chance to do a second cardiology fellowship at Mass General. There, I went to Mass General actually because of the focus on zebra fish genetics. I realized at that stage to really be able to study things at the scale that I thought was going to be necessary, I needed a high [inaudible 01:02:40] system, and Mark Schwartz, before he went to Novardis, on the zebra fish and the cardiovascular system, was very inspiring and I had a great time there. And then, ended up spending some fantastic years at Mass General where I eventually became the program director. But again, there I learned an incredible amount from people like Bill Dec, from Roman Desanctis, from Dolph Hutter. All of whom had very strong clinical presence, as well as from the researchers. Mark Fishman, the late Ken Bloch, and many others.                                            And then also, perhaps one of the most important people in my long term training was Peter Yurchak, who had been ... He had actually defined, I think, the training programs in U.S. cardiology about 35 years earlier. He had been the program director since its inception in the 50s until he retired in 2005 I think it was. And then I became the program director and was there until I moved back to the Brigham in 2009, and became chief in 2014.                                            I think the trajectory is really, I outline it only to highlight the fact that it took me a long time to get where I was going, but that I spent most of my life enjoying the journey. And I think that's actually one of the most important lessons I took away from it. You can end up finding situations where you feel like you might become frustrated, but in fact, if you go into them with the right attitude, and not only that, if you do it with the right people, you can take a huge amount out of it.                                            I was incredibly fortunate in the fellowship class that I had at Mass General. Mark Sabatine is now the chair of TIMI, Patrick Ellinor, who is the head of EP and a pioneer in atrial fibrillation genetics. Stan Shaw, who is now the chief scientific officer with me in One Brave Idea. Danita Yoerger, who's the head of ECHO, and an outstanding ECHO researcher at Mass General. Mark Rubenstein, who's a very successful cardiologist, and a fabulous clinician. That group of people actually, I think, together helped me realize how much you could take from training no matter how old you are, and no matter how grumpy you seem when you don't get the full nights sleep.                                            In the research side, I think the other thing that was obvious was that so many people bring so many different things to the table in research that you should never over or underestimate any aspect of the entire profession. I think I still get remarkable insights into research questions from colleagues who are clinicians, who've never done any research, just from astute observation and declaring a problem in a way that encourages investigation. I think that's one of the most important elements of training is how do you work out what you need to do, and how do you make sure that everything that you do between the start and the finish of that journey is used to help and to improve the way in which you end up doing what you ultimately find as your sort of settling point in your career.                                            I think the other thing that I will say from the standpoint of research is it's always best to try and think about blending different fields together. What you don't want to do is end up being a clone of one of your supervisors or your mentors. It's really an important thing, and I encourage this in all of our trainees the importance of being a bridge between different disciplines. I think that's something that requires real emphasis.                                            And then, finally, never ever forget that the single most important thing in all of this, whether it's the reorganization of clinical care or the core research environments, is the biology in the patients in front of you. And so, one of the things that I'm particularly and acutely aware of almost every time I see patients is that the patients often know much more about the condition that they have than you ever will. Listening to them is actually very important piece of everything that you do.                                            In fact, one of the reasons that we began to move outside the heart in our heart failure research was talking to patients about their pre-clinical elements that they found in their families. So, often, when you see a family with inherited heart disease, before the gene is identified, before anybody has a phenotype that you recognize, the patients themselves can assess who's likely to develop the disease from their intrinsic knowledge of their siblings, and their cousins, and their other family members.                                            So, for example, one of the families that I've worked on intensely, there's a anxiety disorder that is a much more stable and much more specific part of the phenotype than any of the cardiac arrhythmias, and it's actually turned out to be quite a difficult anxiety disorder to define using even DFM criteria. But when we asked the family, they were very able to tell the people in the family who just were at the normal edge of neurotic from those who truly had the anxiety disorder that co-segregated eventually with the arrhythmia.                                            The lesson I've learned time and time again is that patients always are a vital and central part of the answer. And it's a pride thing to say, but particularly in genetics and genomics, I think, and particularly with the reemphasis on phenotype, that I believe is necessary, I think we do well to try and make sure our research and our clinical care, our discovery, and our disease management are very tightly aligned. And I think technology is one of the ways that will help that happen. That actually is part of what being a professional really is. If you go back to the early professional guilds, that's exactly how they were formed. It was groups of experimentalists who were interested in particular problems that formed the original professions in European cities during the Renaissance. I think that's something that we would do well to think about as we continue to remodel medicine in the 21st century. Dr Anwar Chahal:            Thank you for that. Lots of important points there, and I guess your emphasis that enjoying the journey rather than thinking about the destination, but did you always know where your destination would be? And, in fact, that brings me to another question. Have you actually reached your destination, or is your journey still ongoing? Dr Calum MacRae:          So, exactly. I think that's the key thing. You don't need to necessarily know where you're going to stop. You just need to know where you're headed. That's something I actually tell people as they're interviewing for fellowship or residency, that part of what people are looking for when they talk to you is that you have thought through and organized your life around your goals. And those goals can change. Nobody's going to hold you ...

Janine Abbring, de nieuwe presentator van Zomergasten is vrijdag de co-host van Wilfred Genee. We zenden live uit vanuit de SkyLounge van het Double Tree by Hilton Hotel in Amsterdam.

Holanda; tierra de tulipanes, mantequilla, hachís legal... y ascensores asesinos. Víctor reconoce que, a parte de Paul Verhoeven, el único director holandés que conoce es Dick Maas. A parte de todo aquello de Los Flodder y Amsterdamned, Maas tiene en su haber esta estrambótica película que es la sublimación del miedo a los ascensores.Una extraña síntesis de película de misterio/terror y costumbrismo cutre analizada en el podcast de rigor.

You better not cry! This week at The B-Movie Clubhouse the gang will continue our 2 week Christmas Show. This week is my pick Sint from 2010. Sint is a 2010 Dutch dark comedy horror film about Sinterklaas, a character comparable to Santa Claus in English-speaking countries. The film was directed by Dick Maas and […]

Woensdag 3 november ging de nieuwe horrorfilm SINT feestelijk in première in de Stopera in Amsterdam. NFF TV was erbij en sprak met de makers en gasten: Dick Maas, Egbert-Jan Weeber, Caro Lenssen, Huub Stapel, Halina Reijn, Robert de Hoog, Martin Koolhoven en Tygo Gernandt. SINT draait vanaf 11 november 2010 in de bioscoop.

NFF TV bezocht de set van SINT en sprak met regisseur Dick Maas en de cast.

This week on the show we are joined by West Coast Correspondent Rupert Pupkin for some lovely film chatter, as we are covering The Sender (1982) directed by Roger Christian and Amsterdamned (1988) directed by Dick Maas. We also have a good amount of feedback and craziness... Emails to midnitecinema@gmail.com Voicemails to 206-666-5207 Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

Teasertrailer van SINT, de nieuwe horrorfilm van Dick Maas. Vanaf 25 november in de bioscoop