Podcasts about Dimension Films

Today we continue Spooky Season '24 with Robert Rodriguez's THE FACULTY (spoilers throughout)! We discuss the huge influence this had on Steven, the era of Dimension Films and similar teen slasher movies in the wake of Scream, and the soundtrack that contains many cover songs and some odd choices! We also talk about this stuff: The Simpsons Treehouse of Horror episodes, Coven book by Richard Pace, Winnie the Pooh: Blood & Honey 2 (2024), Late Night with the Devil (2023), rainbow popcorn, monocles, and the pronunciation of giclée! ———————————————————— To see images of the stuff discussed, look at your device's screen while listening! Go here to get some LTAS Merch: tee.pub/lic/huI4z_dwRsI Email: LetsTalkAboutStuffPodcast AT gmail DOT com Follow LTAS on Instagram: www.instagram.com/ltaspod/?hl=en Subscribe to Steven's YouTube channel: youtube.com/@alittlelessprofoun…si=exv2x7LZS2O1B65h Follow Steven on Letterboxd: letterboxd.com/stevenfisher22/ Brent is not on social media. A 5-Star rating on your podcast app is appreciated! And if you like our show, share it with your friends! THE LOSS LEADERS OF PODCASTING.

Débarqué en force à Cannes par les frères Weinstein, Sin city adapté du roman graphique par l'auteur lui même Frank Miller et Robert Rodriguez a su marquer les esprits par son casting maboule, son côté néo-noir ultra stilysé, la sexualisation des actrices et sa violence abusé. Maintenant que nous avons tous passé notre brevet il y a plus de 15 ans, que reste t-il de ce film considéré comme un classique des années 2000. Basé sur le roman graphique sorti en 1991 Sin City de Frank Miller qui co-réalise le film. Produit par les deux plus gros tricards du système américain, Harvey Weinstein et son con de frère Bob Weinstein avec un budget de 40 millions de dollars via leur boîte de prod Dimension Films. A la production également et à la réalisation, au montage et à la photo Robert Rodriguez réalisateur de films classiques du cinéma américain, on lui doit Spy kids décrit comme un chef d'oeuvre postmoderne par Criterion Collection, The Faculty mieux que The Thing selon Eric Neuhoff du Figaro, et également Machete Kills qui selon les inrockuptibles, on aurait pu arrêter le cinéma après ce film.Sin City est une ville infestée de criminels, de flics ripoux et de femmes fatales. Hartigan interprété par Bruce Willis s'est juré de protéger Nancy joué par Jessica Alba, une strip-teaseuse qui l'a fait craquer. Marv surjoué par Mickey Rourke, un marginal brutal mais philosophe, part en mission pour venger la mort de son unique véritable amour, Goldie.Soutenez nous sur Patreon Forfait 3€ épisode en accès anticipé sans pub Forfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs La liste de la Shitlist sur Senscritique https://www.senscritique.com/liste/la_shitlist/3657768?La liste de la Shitlist sur Letterboxd par WongKarWaifuhttps://boxd.it/pQN3eEnregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtubeChroniqueur.e.es : Marvin MONTES, Wonder VESPER, Emmanuel.le PEUDON et présenté par Luc LE GONIDECHost : Luc LE GONIDECMusique Jean Baptise BLAIS Montage et mixage son : Luc LE GONIDEC Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Kevin Smith taught me a lot about sex, dating, and gender. Let me walk you through the surprising wisdom out of the View Askewniverse films! Mentioned: Share your thoughts on this week's show in The Champagne Room at http://manwhorepod.com/discord! September 26 - The Naked Comedy Show @ Hacienda https://www.eventbrite.com/e/the-naked-comedy-show-best-stand-up-comedy-without-pants-in-bushwick-tickets-1001529460577 Clips: Clerks. Directed by Kevin Smith, View Askew Productions, 1994 Mallrats. Directed by Kevin Smith, View Askew Productions, Gramercy Pictures, Alphaville Films, 1995 Chasing Amy. Directed by Kevin Smith, View Askew Productions and Too Askew, 1997 Dogma. Directed by Kevin Smith, View Askew Productions, 1999 Jay and Silent Bob Strike Back. Directed by Kevin Smith, View Askew Productions, Dimension Films, Miramax, 2001 Clerks II. Directed by Kevin Smith, View Askew Productions, The Weinstein Company, 2006 Follow Billy! Instagram: @thebillyprocida TikTok: @TheBillyProcida Instagram: @billyisprocida 0nlyFans: @callmebilly Money Stuff Venmo: @BillyProcida Cash App: $manwhorepod PayPal/Zelle: funnybillypro@gmail.com Do your affordable book shopping at http://bookshop.org/shop/billy! Become a Patreon member at https://www.patreon.com/manwhorepodcast! Email your comments, questions, and criticisms to manwhorepod@gmail.com. Late Night Radio by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ www.ManwhorePod.com Learn more about your ad choices. Visit megaphone.fm/adchoices

In space no one can smell rotten eggs! One small step for man. One giant leap of terror! This year, the past, the present and the future will all meet at the crossroads of hell! Are the Pillow Fright Girls off their rockers, or is this a special bonus on sequels in space? If you guessed the latter, you are correct! But not just any sequels - Elissa is joined by writer, podcast host, and fellow horror trivia team member Patrick Hamilton to help her discuss a trifecta of franchise sequels she's been long prepared to discuss since the beginning of time* (*the start of the podcast) - Critters 4, Leprechaun in Space, and Hellraiser: Bloodline. Are you ready to go off the rails on a crazy train (spaceship)? Grab your Krites, gold, and Lament Configuration and let's get to it! Check out Patrick and the Kill by Kill podcast on Instagram!Support the showSubscribe to our YouTube channel for visual podcast episodes and more! If you enjoy our content and would like to support us, join our Patreon where you will find uncut episodes, bonus content and more!Follow us on socials:InstagramTikTokLetterboxd Pillow Fright theme by Brandon Scullion

A double feature of 25th anniversaries! Legendary filmmaker and producer Kevin Williamson may be making his debut directing in the SCREAM franchise with “Scream 7,” but his first time up to bat behind the camera was directing “Teaching Mrs. Tingle.” This week, Ryan is joined by Garrison Nichols and Brittany Cosby to review “Teaching Mrs. Tingle” to celebrate its 25th anniversary. Additionally, Wes Craven directed a film between “Scream 2” and “Scream 3,” Meryl Streep in an Oscar-nominated leading role in “Music of the Heart.” Ryan is joined by Michael Schwartz to look back at “Music of the Heart” and discuss the studio behind Dimension Films and Miramax. Subscribe on Patreon.com/screamwithrcs Introduction Explanation Teaching Mrs. Tingle Kevin Williamson's Directing Scream 7  Music of the Heart Miramax v. Dimension Films Find us on Twitter, Instagram, and Facebook. Host: @ScreamWithRCS  Editor: @albertmpadilla  GIF: @robanthonyyeadon Feat: @Abandon06 @brittany_cosby @mschwartz95  

Closing out the Halloween season, we welcome Student Academy Award Winning Documentary Film Producer, Samantha Garcia, to discuss life after NYU, the state of the film industry, upcoming projects, and her love for a film that revitalized the horror genre.

Halloween is Canceled is a limited audio series unpacking and dissecting five unmade Halloween sequels. Presented by the DREAD Podcast Network's very own Development Hell, this podcast celebrates the strange, fascinating, and often outrageous history of unmade Michael Myers features.PART FOUR - HALLOWEEN: THE MISSING YEARSFind out what Michael Myers was up to during the events of HALLOWEEN 3 as we return to Smiths Grove Sanitorium to unearth the unmade sequel HALLOWEEN: THE MISSING YEARS. Featuring a slew of Haddonfield legacy characters such as Lindsey Wallace, Dr. Loomis, and Sheriff Brackett, this unproduced script by writer Jake Wade Wall (When A Stranger Calls) is a total treat for any HALLOWEEN fan.Listen in as we discuss this legendary screenplay in detail with former Dimension Films executive Nick Phillips and the writer of HALLOWEEN: THE MISSING YEARS himself, Jake Wade Wall.Watch out for all five parts of Halloween is Canceled right here on the DREAD Podcast Network.Follow Nick Phillips on InstagramLearn more about Jake Wade Wall Follow Development Hell:Twitter - @DevelHellPodInstagram - @DevelopmentHellPodFacebook - DevelopmentHellPodTheme music by Drew PidgeonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Halloween is Canceled 2 is a limited audio series unpacking and dissecting five more unmade Halloween sequels. Presented by the DREAD Podcast Network's very own Development Hell, this podcast celebrates the strange, fascinating, and often outrageous history of unmade Michael Myers features.PART THREE - HALLOWEEN: ASYLUMFor the third chapter of Halloween is Cancelled 2, we're signing into Smith's Grove Sanitarium to reveal the never-made sequel Halloween: Asylum from writer Matt Venne (The Exorcism of Molly Hartly). Special guest for the episode is Nick Phillips, a former Dimension Films executive and one of the real-life shadowy overlords once in charge of developing Halloween sequels at the studio. We chat with Nick in detail about Venne's incredible script for Halloween: Asylum, some of the wackiest pitches he received for Halloween 9 (Michael in Space!), and even dig up a few other dead Michael Myers projects that nearly happened. Watch out for all five parts of Halloween is Canceled 2 right here on the DREAD Podcast Network.Follow Nick Phillips on InstagramFollow Development Hell:Twitter - @DevelHellPodInstagram - @DevelopmentHellPodFacebook - DevelopmentHellPodTheme music by Drew PidgeonSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Halloween 2018 aka Halloween H40 was well received by audiences and critics alike. Upon revisiting 1998's Dimension entry, Halloween H20, I found it unneeded in the Halloween saga of Laurie Strode and Michael Myers. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

View our Scary Movie shop⁠ Join BP, Coop and Justin as we analyse Scary Movie 4, a 2006 American science fiction parody film. It is the sequel to Scary Movie 3 and the fourth installment in the Scary Movie film series, as well as the first film in the franchise to be released under The Weinstein Company banner since the purchase of Dimension Films from Disney. It was directed by David Zucker, written by Jim Abrahams, Craig Mazin, and Pat Proft, and produced by Robert K. Weiss and Craig Mazin. The film marks the final franchise appearances of the main stars, Anna Faris and Regina Hall (who portray Cindy and Brenda, respectively), and concludes the original story arc. This was initially intended to be the final film in the Scary Movie film series, until Scary Movie 5 was released by The Weinstein Company on April 12, 2013, in a different storyline, with Simon Rex, Charlie Sheen, and Molly Shannon in different roles. It grossed $178 million dollars, becoming the third highest grossing film in the series. Follow the Complete Guide to Horror Movies podcast on our social channels below. ↪ ⁠⁠⁠⁠⁠TikTok⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Subscribe to our YouTube channel⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Shop our Store!⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Tip us $5⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Letterboxd⁠⁠ Chapters 00:00 The Grudge 00:25 Title Sequence 00:42 Introducing Scary Movie 4 01:26 Overall Thoughts 04:30 Favourite Parts 13:23 What We Disliked 19:26 Trivia 23:43 Ratings 25:45 Final Thoughts 28:01 Thank You 28:27 Karma Chameleon Box office In its opening weekend, the film grossed a total of $40.2 million, the third best opening weekend of the Scary Movie franchise. It has the best Easter weekend opening weekend ever, beating Panic Room which made $30.1 million in its opening and also the second best April opening, only $2 million behind Anger Management's record. As of October 18, 2006, the film has grossed a total of $90,710,620 at the United States box office and $178,262,620 worldwide. Critical response Review aggregation website Rotten Tomatoes reports that 34% of 126 critics gave the film a positive review, with an average rating of 4.60/10. The site's consensus states, "Sure to inspire a few chuckles, but not enough to compensate for the recycled material from its predecessors." On Metacritic, film has an average of 40 out of 100, based on 23 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "C+" on a scale of A+ to F. Stephen Hunter of The Washington Post stated that while "Scary Movie 4 never takes you close to death by laughter... it's funny enough to turn the hands on your watch much more quickly than you can believe." Nathan Lee of The New York Times' described the film as being "organized on the principle of parody, not plot... it's an exercise in lowbrow postmodernism, a movie-movie contraption more nuts than Charlie Kaufman's gnarliest fever dream. It's cleverly stupid." Accolades The film won a Golden Raspberry Award for Worst Supporting Actress (Carmen Electra, also in Date Movie). #scarymovie4 #warofthewowrlds #thegrudge #saw #jigsaw #annafaris #reginahall #retrospective #behindthescenes #movie #death #horrorfilm #deathscene #blood #gore #horror #completeguidetohorror #horrormovie #scary #creepy #scarymovie #brendameeks #cindycampbell #karmachameleon #cultureclub #boygeorge

View our Scary Movie shopJoin BP, Coop and Justin as we analyse Scary Movie 4, a 2006 American science fiction parody film. It is the sequel to Scary Movie 3 and the fourth installment in the Scary Movie film series, as well as the first film in the franchise to be released under The Weinstein Company banner since the purchase of Dimension Films from Disney. It was directed by David Zucker, written by Jim Abrahams, Craig Mazin, and Pat Proft, and produced by Robert K. Weiss and Craig Mazin.The film marks the final franchise appearances of the main stars, Anna Faris and Regina Hall (who portray Cindy and Brenda, respectively), and concludes the original story arc. This was initially intended to be the final film in the Scary Movie film series, until Scary Movie 5 was released by The Weinstein Company on April 12, 2013, in a different storyline, with Simon Rex, Charlie Sheen, and Molly Shannon in different roles. It grossed $178 million dollars, becoming the third highest grossing film in the series.Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ TikTok↪ Instagram↪ Facebook↪ Twitter↪ Letterboxd↪ Subscribe to our YouTube channel↪ Tip us $5↪ Linktree↪ Website↪ Shop our Store!Chapters00:00 The Grudge00:25 Title Sequence00:42 Introducing Scary Movie 401:26 Overall Thoughts04:30 Favourite Parts13:23 What We Disliked19:26 Trivia23:43 Ratings25:45 Final Thoughts28:01 Thank You28:27 Karma ChameleonBox officeIn its opening weekend, the film grossed a total of $40.2 million, the third best opening weekend of the Scary Movie franchise. It has the best Easter weekend opening weekend ever, beating Panic Room which made $30.1 million in its opening and also the second best April opening, only $2 million behind Anger Management's record. As of October 18, 2006, the film has grossed a total of $90,710,620 at the United States box office and $178,262,620 worldwide.Critical responseReview aggregation website Rotten Tomatoes reports that 34% of 126 critics gave the film a positive review, with an average rating of 4.60/10. The site's consensus states, "Sure to inspire a few chuckles, but not enough to compensate for the recycled material from its predecessors." On Metacritic, film has an average of 40 out of 100, based on 23 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "C+" on a scale of A+ to F.Stephen Hunter of The Washington Post stated that while "Scary Movie 4 never takes you close to death by laughter... it's funny enough to turn the hands on your watch much more quickly than you can believe." Nathan Lee of The New York Times' described the film as being "organized on the principle of parody, not plot... it's an exercise in lowbrow postmodernism, a movie-movie contraption more nuts than Charlie Kaufman's gnarliest fever dream. It's cleverly stupid."AccoladesThe film won a Golden Raspberry Award for Worst Supporting Actress (Carmen Electra, also in Date Movie).#scarymovie4 #warofthewowrlds #thegrudge #saw #jigsaw #annafaris #reginahall #retrospective #behindthescenes #movie #death #horrorfilm #deathscene #blood #gore #horror #completeguidetohorror #horrormovie #scary #creepy #scarymovie #brendameeks #cindycampbell #karmachameleon #cultureclub #boygeorge

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

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

View our Scary Movie shop And twins! Join BP, Coop and Justin as we take a look back at Scary Movie 3, the 2003 American parody film which parodies the horror, sci-fi, and mystery genres. It is the sequel to Scary Movie 2 and is the third film in the Scary Movie film series, and the first to be directed by David Zucker. The film stars Anna Faris and Regina Hall reprising their roles as Cindy Campbell and Brenda Meeks, respectively. New cast members include Charlie Sheen, Simon Rex, Anthony Anderson, Kevin Hart, and Leslie Nielsen. It is the first film in the series to feature no involvement from the Wayans family. The characters of Shorty Meeks and Ray Wilkins, previously played by Shawn and Marlon Wayans, do not appear, nor are they referenced. The film's plot significantly parodies the films The Ring, Signs, The Matrix Reloaded and 8 Mile. The film grossed $220.7 million worldwide, becoming the second highest-grossing film in the series. A sequel, Scary Movie 4, was released in 2006. Follow the Complete Guide to Horror Movies podcast on our social channels below. ↪ ⁠⁠⁠⁠TikTok⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Twitter⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Instagram⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Subscribe to our YouTube channel⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Shop our Store!⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Tip us $5⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Linktree⁠⁠⁠⁠ ↪ ⁠⁠⁠⁠Letterboxd⁠ Chapters 00:00 Cindy the TV's leaking 00:26 Title Sequence 00:44 Introducing Scary Movie 3 01:25 Overall Thoughts 04:45 Favourite Parts 17:34 What We Disliked 23:50 Trivia 33:58 Ratings 35:55 Final Thoughts 37:49 Thank You 38:27 And twins! On November 22, 2002, Dimension Films announced a third Scary Movie without the Wayans brothers returning. The movie was given the title Scary Movie 3: Episode I — Lord of the Brooms, and the movie was supposed to spoof the Star Wars, Lord of the Rings and Harry Potter franchises. Jason Friedberg and Aaron Seltzer were the writers of the movie. David Zucker was going to shoot that script but eventually decided to not use it. Filming started on March 12, 2003 and wrapped on July 16, 2003. The movie was shot in British Columbia and in Washington, D.C. #scarymovie3 #annafaris #reginahall #alternativeending #deletedscenes #thering #signs #8mile #eminem #behindthescenes #movie #death #horrorfilm #deathscene #blood #gore #horror #completeguidetohorror #horrormovie #scary #creepy #scarymovie #theexorcist #hellhouse #hillhouse #thehaunting #hannibal #charliesangels #nike #brendameeks #cindycampbell

View our Scary Movie shopAnd twins!Join BP, Coop and Justin as we take a look back at Scary Movie 3, the 2003 American parody film which parodies the horror, sci-fi, and mystery genres. It is the sequel to Scary Movie 2 and is the third film in the Scary Movie film series, and the first to be directed by David Zucker.The film stars Anna Faris and Regina Hall reprising their roles as Cindy Campbell and Brenda Meeks, respectively. New cast members include Charlie Sheen, Simon Rex, Anthony Anderson, Kevin Hart, and Leslie Nielsen. It is the first film in the series to feature no involvement from the Wayans family. The characters of Shorty Meeks and Ray Wilkins, previously played by Shawn and Marlon Wayans, do not appear, nor are they referenced.The film's plot significantly parodies the films The Ring, Signs, The Matrix Reloaded and 8 Mile. The film grossed $220.7 million worldwide, becoming the second highest-grossing film in the series. A sequel, Scary Movie 4, was released in 2006.Follow the Complete Guide to Horror Movies podcast on our social channels below.↪ TikTok↪ Instagram↪ Facebook↪ Twitter↪ Letterboxd↪ Subscribe to our YouTube channel↪ Tip us $5↪ Linktree↪ Website↪ Shop our Store!Chapters00:00 Cindy the TV's leaking00:26 Title Sequence00:44 Introducing Scary Movie 301:25 Overall Thoughts04:45 Favourite Parts17:34 What We Disliked23:50 Trivia33:58 Ratings35:55 Final Thoughts37:49 Thank You38:27 And twins!On November 22, 2002, Dimension Films announced a third Scary Movie without the Wayans brothers returning. The movie was given the title Scary Movie 3: Episode I — Lord of the Brooms, and the movie was supposed to spoof the Star Wars, Lord of the Rings and Harry Potter franchises. Jason Friedberg and Aaron Seltzer were the writers of the movie. David Zucker was going to shoot that script but eventually decided to not use it.Filming started on March 12, 2003 and wrapped on July 16, 2003. The movie was shot in British Columbia and in Washington, D.C.#scarymovie3 #annafaris #reginahall #alternativeending #deletedscenes #thering #signs #8mile #eminem #behindthescenes #movie #death #horrorfilm #deathscene #blood #gore #horror #completeguidetohorror #horrormovie #scary #creepy #scarymovie #theexorcist #hellhouse #hillhouse #thehaunting #hannibal #charliesangels #nike #brendameeks #cindycampbell

Alvaro Rodriguez has been writing since childhood and, in fact, did his best work when he was 11. Without a movie camera in sight, Rodriguez relied on the written word and a Polaroid Button to storyboard the films in his head. A crash course in entertainment writing and editing at the University of Texas student newspaper and seminars in creative writing supplied more tools for the toolbox. When he riffed on a Spanish guitar figure as the hero's musical theme in cousin Robert Rodriguez's debut film, El Mariachi (1992) (Columbia Pictures, 1993), he began a collaboration that has lasted more than two decades.Rodriguez sold his first pitch to Dimension Films, a spaghetti-western prequel to the genre-bending vampire flick From Dusk Till Dawn (1996) called From Dusk Till Dawn 3: The Hangman's Daughter (1999) (Miramax/Dimension, 2000), which starred Marco Leonardi, Michael Parks, Sonia Braga, Rebecca Gayheart and Danny Trejo, with Robert Rodriguez and Quentin Tarantino producing.Rodriguez co-wrote the wishing-rock children's movie Shorts (2009) (Warner Brothers, 2009), starring James Spader, Jon Cryer, Leslie Mann, and William H. Macy, and followed that confection with the bloodier Machete (2010) (Fox, 2010) starring Danny Trejo, Jessica Alba, Michelle Rodriguez, Lindsay Lohan, Jeff Fahey, Don Johnson, and Robert De Niro. Both were directed by Robert Rodriguez.As of 2014, he is writing on the television series From Dusk Till Dawn: The Series (2014) for the El Rey Network, now in its second season, and is developing feature and television projects in the United States and Italy.A frequent panelist and presenter at the Austin Film Festival, he has also curated an "Epoca de Oro" Mexican film series at the Museum of South Texas History and has been a speaker at colleges and universities throughout the United States. His border-influenced short fiction has appeared in multiple publications, both physical and digital, including Mulholland Books/Popcorn Fiction, "Along the River" (2011), and the Bram Stoker Award-winning "After Death" (2013).This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2664729/advertisement

Pray you don't get lost in the fog because we're heading to Jersey Island to discuss spooky ghost things in Alejandro Amenábar's 2001 film The Others! Joining us for the conversation is Nichole Goble, the host of the Bodies of Horror podcast! Join us as we trace the origins of the film through Tom Cruise(???) and Dimension Films(??????) before going all in on the atmospheric charms of this Gothic horror gem. From Nicole Kidman's powerful performance, to a look at the film through a lens of disability, we've got you covered. Plus: much discussion on Catholicism and the afterlife, the not-always-clear rules of the film, and the happiest version of filicide you'll ever find in a horror film. Reference: > Ernesto R. Acevedo-Muñoz. Horror of allegory: The Others and its contexts. Contemporary Spanish cinema and genre Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > Nichole: @BodiesHorror Be sure to support the boys on Patreon!  Theme Music: Alexander Nakarada  Learn more about your ad choices. Visit megaphone.fm/adchoices

DIMENSION Films put out A LOT of movies and horror movies in the 90s and 2000s. Today we rank most of them! From Halloween 6 to The Faculty to The Crow, The Scream Franchise, Dusk Till Dawn, The Scary Movie Franchise and so many one off Dimension Horror Movies. Also, we'll talk movie news and whatever you wanna discuss! Help us make our Dimension Films Movie Ranking and Tier List! Want over FIFTY more of these livestreams? Check out our patreon here: https://www.patreon.com/wewatchedamovie --- Support this podcast: https://podcasters.spotify.com/pod/show/wewatchedamovie/support

A lot of changes and different ideas are thrown at the series in this third entry, which more directly commits to Pinhead as the villain and gives him more of an origin. The franchise also moves from New World to the newly formed Dimension Films. Does it take our breath away, or do we just have seasonal allergies? Find out now!

This week we have a look at the 2011 film Scream 4, which appeared eleven years after the previous film in the series. This is Episode #405!Scream 4 (stylized as SCRE4M) is a 2011 American slasher film directed by Wes Craven and written by Kevin Williamson. Produced by Outerbanks Entertainment and distributed by Dimension Films, it is a sequel to Scream 3 (2000) and the fourth installment in the Scream film series. The film takes place on the fifteenth anniversary of the original Woodsboro murders from Scream (1996) and involves Sidney Prescott (Campbell) returning to the town after ten years, where Ghostface once again begins killing students from Woodsboro High. Like its predecessors, Scream 4 combines the violence of the slasher genre with elements of black comedy and "whodunit" mystery to satirize the clichés of film remakes. The film also provides commentary on the extensive usage of social media and the obsession with internet fame.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4268760/advertisement

Alvaro Rodriguez has been writing since childhood and, in fact, did his best work when he was 11. Without a movie camera in sight, Rodriguez relied on the written word and a Polaroid Button to storyboard the films in his head. A crash course in entertainment writing and editing at the University of Texas student newspaper and seminars in creative writing supplied more tools for the toolbox. When he riffed on a Spanish guitar figure as the hero's musical theme in cousin Robert Rodriguez's debut film, El Mariachi (1992) (Columbia Pictures, 1993), he began a collaboration that has lasted more than two decades.Rodriguez sold his first pitch to Dimension Films, a spaghetti-western prequel to the genre-bending vampire flick From Dusk Till Dawn (1996) called From Dusk Till Dawn 3: The Hangman's Daughter (1999) (Miramax/Dimension, 2000), which starred Marco Leonardi, Michael Parks, Sonia Braga, Rebecca Gayheart and Danny Trejo, with Robert Rodriguez and Quentin Tarantino producing.Rodriguez co-wrote the wishing-rock children's movie Shorts (2009) (Warner Brothers, 2009), starring James Spader, Jon Cryer, Leslie Mann, and William H. Macy, and followed that confection with the bloodier Machete (2010) (Fox, 2010) starring Danny Trejo, Jessica Alba, Michelle Rodriguez, Lindsay Lohan, Jeff Fahey, Don Johnson, and Robert De Niro. Both were directed by Robert Rodriguez.]As of 2014, he is writing on the television series From Dusk Till Dawn: The Series (2014) for the El Rey Network, now in its second season, and is developing feature and television projects in the United States and Italy.A frequent panelist and presenter at the Austin Film Festival, he has also curated an "Epoca de Oro" Mexican film series at the Museum of South Texas History and has been a speaker at colleges and universities throughout the United States. His border-influenced short fiction has appeared in multiple publications, both physical and digital, including Mulholland Books/Popcorn Fiction, "Along the River" (2011), and the Bram Stoker Award-winning "After Death" (2013).This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

This week on DVG Casey and Dave are trying their best to get the show back on track after a run of complete filth. Along for the ride is Fetishist / Content Creator Mistress Sasha Wetdreams. The trio work their way through Sasha's 10 favourite movies including talks of the golden era of Dimension Films, the highs and lows of the Scream franchise and Sasha's distain for big studio comedies. So out on your best latex, pick a good safeword and enjoy the Guest's Choice Special of Mistress Sasha Wetdreams Listen to us on itunes, Spotify or wherever you get your podcasts.or direct download the mp3 from the link below:https://www.buzzsprout.com/186739/12886708-mistress-sasha-wetdreams-guest-s-choice-special.mp3?download=trueFollow Sasha at the folllowing:https://linktr.ee/wetdreamsStalk us on Facebook, Twitter and Instagram or send us your sweet nothings at davesvideograveyard@gmail.com#MistressSashaWetdreams  #davesvideograveyard #movies #film #davesvideograveyard #moviepodcast #filmpodcast 

Today, on a very soundtrack-heavy discussion, I'm joined by the former editor of Gamespot and Giant Bomb--and current podcaster with the Nextlander Podcast and the Nextlander Watchcast--Alex Navarro (@alex_navarro), and we're talking about the American release of SUPERCOP. Dimension Films bought the rights to it, and the Weinsteins gave it a new edit with a completely incongruous soundtrack. In this episode we talk about the film itself, the incredible final act, Michelle Yeoh being the best, what a force of nature Jackie Chan was in his heydey, whether The Fresh Prince was responsible for Tom Jones 90s revival, how funny it is to see Hong Kong drug lords having a conversation in a car while listening to Warren G, how bad the Black Grape song is, and more. Listen to Nextlander here: https://podcasts.apple.com/us/podcast/the-nextlander-podcast/id1570737028Listen to the Watchcast here (including their episode on SUPERCOP): https://podcasts.apple.com/us/podcast/the-nextlander-watchcast/id1633712013Support the show on Patreon! It's the one thing that's gonna help keep the show going: www.patreon.com/soundtracker

This week we have a look at the 1997 film Scream 2. This is Episode #403!Scream 2 is a 1997 American slasher film directed by Wes Craven and written by Kevin Williamson. A sequel to Scream (1996), the film was released on December 12, 1997, by Dimension Films, as the second installment in the Scream film series. Scream 2 takes place two years after the first film and again follows the character of Sidney Prescott (Campbell), and other survivors of the Woodsboro massacre, at the fictional Windsor College in Ohio, where they are targeted by a copycat killer using the guise of Ghostface. Like its predecessor, Scream 2 combines the violence of the slasher genre with elements of comedy, satire and "whodunit" mystery while satirizing the cliché of film sequels.

Brett, Josh, $ Mikey, Korey"Kylo-Ren-Memes" and Pappy take a trip to BaSIN City and review the 2005 Robert Rodriguez classic: Sin City! In this quartet of neo-noir tales, a mysterious salesman (Josh Hartnett) narrates a tragic story of co-dependency, while a musclebound vigilante (Mickey Rourke) tears his way through the criminal underworld in search of his lost love (Jaime King). In another part of the city, a grizzled cop (Bruce Willis) foils the ambitions of a child-killer (Nick Stahl), and an ex-prostitute (Brittany Murphy) evades her ex-pimp (Benicio del Toro) with the help of her new boyfriend, Dwight (Clive Owen). Release date: April 1, 2005 (USA) Directors: Frank Miller, Robert Rodriguez Story by: Frank Miller Box office: 158.7 million USD Distributed by: Miramax, Dimension Films, SPI International Adapted from: Sin City, That Yellow Bastard, The Hard Goodbye

The mid-1990s were rocked by a little slasher thriller released by  Dimension Films & directed by Wes Craven. This film would go on to  spawn 3 sequels, a television series, and a new fifth movie is now in post production. What was so special about Scream that it's legacy would  survive in our social conscience well beyond the many imitation  franchises that soon followed it?

Time to go back to the beginning, as the spiritual dead end of 2002's 'Halloween: Resurrection' led Dimension Films to remake the original under the creative guidance of... Rob Zombie?! Yes, it's a look at one of the most controversial installments of the franchise, swearing, ultraviolence and all.

This week, Brian and John open the box and venture to the world of The Hellraiser Franchise.  Now while we will eventually get to Hulu's Hellraiser Remake, we felt it was necessary to look at the absolute worst moment in the franchise.  We are of course talking about 2011's Hellraiser Revelations.  This movie is on a whole other level of bad; and we aren't just saying that cause it features "Fat/Wish.com/Great Value Pinhead".  This movie was one in a series of copyright grabs by everyone's favorite creep, Harvey Weinstein and Dimension Films in an effort to retain the rights for profit.   Fair warning...This particular episode of The Cinema Psychos Show is a bit extra explicit.  So if you like our episodes where we are a bit more on the vulgar humor side, this one is for you.   MERCH AND ANNOUCEMENTS Our co-host, John Wooliscroft, has a brand new film channel on youtube. Check it out and Subscribe at J DUB'S VIDEO NASTIES Use the coupon code "psychosnation" and save 25% on our TeePublic Store!  Sign up for PSYCHOS NATION: Our Monthly Newsletter HELP US SPREAD THE MADNESS! Help us spread the madness by tweeting!  Click here to post a tweet! Did you really like this episode?  If so consider leaving us a rating, a review, or subscribe! WAYS TO SUBSCRIBE TO THE CINEMA PSYCHOS SHOW! Apple Podcasts Stitcher Spotify Pandora Android RSS Feed FEEDBACK AND CONTACT US Gotta a movie or question you want to throw our way?  Or did we trash one of your favorite films and you want to know where to send a dead horse.  Either way, drop us a line!  We welcome your questions and dead horses.   NEW !!!  Leave us voicemail! - @Speakpipe Email cinemapsychosshow@gmail.com Twitter - @psychosshow Facebook - @psychosshow Instagram - @psychosshow Website - cinemapsychosshow.com Brian Cottington - @briancottington John Wooliscroft - @theunrealjwools Epicast Network - epicastnetwork.com Theme Music: TITLE: “Red Alert” AUTHOR: Jack Waldenmaier PUBLISHER: Music Bakery Publishing (BMI) WARNING: UNAUTHORIZED USE OF THE MUSIC CONTAINED IN THIS PRODUCTION IS SUBJECT TO CRIMINAL PROSECUTION. All copyrights, licensing, duplication and distribution rights are held exclusively by Music Bakery Publishing (BMI). 214-636-5887 musicbakery.com

We continue our murderous parade through the exploits, the escapades, and the eviscerations of the one and only Michael Myers with a truly unique entry in horror franchise canons. The 6th Halloween film was much contested among its creatives as the production rights came into dispute, and the Haddonfield slasher came under new management at Dimension Films. This led to drastically different visions for the latest installment and, eventually, drastically different films. So this week, we are examining both cuts in dialogue with each other: the Theatrical version which was definitive for many years, and the famed Producer's Cut released a few years ago which restores the original creative vision for the story.So kick back, relax, and enjoy this laugh-filled discussion about a distinctly fascinating entry in the horror genre. Also featuring a Patron-only segment on The Simpsons TREEHOUSE OF HORROR III, this is a fun and brisk conversation that we're sure you'll enjoy.Patron Only Segment: THE SIMPSONS: Treehouse of Horror 3 #tvguideposts7:24 - HALLOWEEN: THE CURSE OF MICHAEL MYERS, Theatrical & Producer's CutsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Francois Martin VERTICAL ENTERTAINMENT. Francois Martin is currently a Business Development Associate at Vertical Entertainment, a global independent film distribution company. Vertical's impressive library includes titles such as CAPONE, Miami's own REEFA and CRITICAL THINKING along with recent new releases ALICE and LAST SEEN ALIVE. From 2018-2020, he worked for Aviron Pictures as Executive Vice President, Media Strategy and Content Distribution. Aviron Pictures was an American distribution company involved with THE STRANGERS: PREY AT NIGHT, SERENITY and AFTER. Prior to Aviron, Francois was a senior theatrical marketing and content sales executive at The Weinstein Company and Miramax Films. He led theatrical marketing strategy and awards media campaigns on WIND RIVER, LION, SOUTHPAW, WOMAN IN GOLD, INGLORIOUS BASTARDS and THE KING'S SPEECH. Francois has also overseen media, integrated promotions and marketing operations on KILL BILL, CHICAGO, SPY KIDS, SCARY MOVIE, Lee Daniel's THE BUTLER, DJANGO UNCHAINED, PADDINGTON and SILVER LININGS PLAYBOOK. Matthew Stein PRODUCER WITH M.E.S. PRODUCTIONS Matthew Stein is currently a producer with M.E.S. Productions, which is currently producing projects for Sony Pictures Entertainment, Live Nation, Warner Music Group, Rolling Stone, Amasia Entertainment, and many more. He also has a lead consulting role for McCourt Entertainment, working to develop a major film and TV development and production fund. Prior, Matt was the SVP, Scripted Film/TV Production at Live Nation Productions, the entertainment division of Live Nation, the world's largest live events company, where he oversaw a scripted team that developed and produced content in the music/film/TV crossover space. The overall division has executive produced the Warner Bros phenomenon A Star is Born, as well documentaries Lady Gaga 5 Foot 2, Imagine Dragons Believer, and more. Before Live Nation, Matt served as VP, at Sony Pictures Entertainment International Productions. This unique division developed English language television series, local language movies, and English language movies with heavy international appeal. He was brought it to help produce the Simon Pegg/Nick Frost feature Slaughterhouse Rulez. Matt has also executive produced Amityville: The Awakening for Dimension Films/Blumhouse and served as an executive producer on Dimension thrillers Kristy and Piranha 3DD, as well as Image Entertainment's The Houses That October Built. The first 12 years of Matt's career were spent working for Dimension Films, where he ascended through the ranks to run production as Executive Vice President of Production. He oversaw all phases of production, development, and casting for the division, and was Executive Producer on such varied films as Scream 4, Halloween, Halloween 2, Apollo 18, Hellride, Superhero Movie, and more. In total, Matt has been the executive in charge of production on over 35 films in his time, and also held the positions of Senior Vice President, Vice President, and started his career as an assistant to the co-Chairman. Matt graduated from The University of Miami, where he majored in Film/Political Science with a minor in Business. He is originally from New Jersey, lived and worked in New York City for years, and currently resides in Los Angeles.

Get more at www.patreon.com/podsematary! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1561549628025147393 CW: Suicide, Rape, Rape Culture It's Back-to-School Week on Pod Sematary! Chris & Kelsey pledge school societies where they live by the melodrama and die by the melodrama. The Classic Film: The Skulls (2000) "For Luke McNamara, an invitation to join the prestigious secret college organization, The Skulls, is a dream come true, until murder befalls another student” (Mill Creek Entertainment). The Skulls is not a horror movie, sorry. Instead, it's Baby's First Thriller, like a novel adapted into a children's picture book. But if you stick it out, the extreme goofiness might be enough to have you thinking it's so bad that it's good. The Modern Film: Initiation (2020) "Whiton University unravels the night a star-athlete is murdered, kicking off a spree of social media slayings that force students to uncover the truth behind the school's hidden secrets and the horrifying meaning of an exclamation point” (IMDb.com). Initiation is a strikingly shot and acted drama going through a pretty paint-by-numbers horror plot that becomes a mishmash of incredible, mediocre, and even inept moments, making it difficult to recommend despite being... kinda good, I guess? Audio Sources: "12 Angry Men" (1997 TV Movie) produced by MGM Television "Bill & Ted's Excellent Adventure" produced by De Laurentiis Entertainment Group, et al. "Black Christmas" (1974) produced by Film Funding Ltd. of Canada, et al. "The Faculty" (1998) produced by Dimension Films & Los Hooligans Productions "The Fast and the Furious" (2001) produced by Universal Pictures, et al. "Initiation" produced by Shatterproof Films "The NeverEnding Story" produced by Constantin Film, et al. "Not Another Teen Movie" produced by Columbia Pictures, et al. "Showdown" written by Jeff Lynne and performed by the Electric Light Orchestra "The Skulls" (2000) produced by Universal Pictures, et al.

We continue our exploration of films stuck in Development Hell with the many attempts to adapt The Six Million Dollar Man to the silver screen. After a successful television run, 3 made-for-TV movies as recently as 1994, and influence that can be felt all throughout US pop culture, shouldn't a big screen version have worked? Join us for a tale of writer's block, unexpected contributors, executive musical chairs, a Weinstein, and another appearance in this series for Mark Wahlberg. Actually, that begs the question: what's going on with Mark Wahlberg's career? Listen with your bionic ears to get the whole story! CW: mention of Harvey Weinstein's sexual assault charges; mention of Mark Wahlberg's racist attack on an Asian man; mention of Mel Gibson's racism and antisemitism. Podcasts plugged in this episode: The Happy Hour Podcast (@HappyHourShow3 on Twitter); Talking SMAC (@TalkingSMACpod on Twitter) Be sure to check out the Happy Hour Podcast's attempt at the world record for the longest podcast record, starting at 10:00 AM on Friday 8/26/2022! We'll be appearing as guests around 7:00 PM that night and there will be appearances from TONS of other amazing indie podcasts. People & Stuff Mentioned In This Episode: The Bionic Woman, Lee Majors, Lindsay Wagner, Richard Anderson, The Venture Bros, Punisher, Kevin Smith, Clerks, Mallrats, Kenner, Star Wars, The Toys That Made Us, Marvel Comics, Stan Lee, Lawrence Gordon, Paul W. S. Anderson, Steven E. de Souza, Event Horizon, Soldier, Resident Evil, K-Pax, Universal Pictures, Dimension Films, Miramax, Bob Weinstein, Mark Frost, David Lynch, Kyle MacLachlan, Smallville, Chris Rock, the Farrelly Brothers, Jim Carrey, Kick-Ass 2, Uwe Boll, BloodRayne, Warner Bros, Peter Berg, Lone Survivor, Shooter, The Departed, Scoob!, Damian Szifron, Daddy's Home, The Beaver, Martin Scorsese, Silence, Patty Jenkins, Wonder Woman 1894, Space Jam 2, The Green Knight, Simu Liu, Shang Chi and the Legend of the Ten Rings, David Hughes, Wario, Waluigi --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/derazzled/support

The uncanny (and rather unlikely) film trilogy by the infamous film studio has its pros and cons and which outweigh the other? What are some cool social media postings by cast & crew regarding the first film? Did the series's Scream/Blade type marketing work in its favor or against its well-intended nature? Is it a low-brow or surprisingly inoffensive film saga? All that and a hysterical pitch for a fourth film by our 4 podcast guests!     MAIN LINKS: LinkTree: https://linktr.ee/JURSPodcast Facebook Group: https://www.facebook.com/JackedUpReviewShow/ Twitter: https://twitter.com/JackedUpReview Instagram: https://www.instagram.com/jacked_up_podcast/ SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/ Podbean: https://jackedupreviewshow.podbean.com Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218 RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz Anchor: https://anchor.fm/s/a46297c/podcast/rss PocketCasts: https://pca.st/0ncd5qp4 CastBox: https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222

This week we're back in School and being Student Body Snatchers with The Faculty. Learning about the worst College Football team names, loads of behind the scenes and alternate Casting as well as what a piece of dirt Harry Knowles was and we assume still is. Should you want to see anunedited videocast of this week's episode you can join us on the Patreon for just a quid at https://www.patreon.com/100thingsfilm  full episode Auto transcription: Hey, guys, are the sure? We're looking at harness usher, Stuart Jansen, Patrick, hi, heartnet Edward. We're looking at years the faculty. Hello everyone, and welcome to another action packed episode of a hundred things we learned from film. I'm one of your host my name's plenty and I'm a body snatcher. Oh and I'm John. I'm the JOCK. You absolutely are, quarterback prick. Very well, very well indeed. I was gonna say it's gorgeous outside, pishing it down raining just now and it's still red. Well, I would have had my taps off, but for the very first time we are recording in video for our patrons. So if you fans, only fans, only pals, more like. So, if you want to see John's beautiful new kitchen behind him, potentially some Colin Robinson later on, as he likes to jump in, and my big fat face, you can get involved by giving us a quid a month. It is not going to be a permanent thing, but we're going to throw it up completely unedited, so you get to hear what a fucking pigs here. John just waits of the of the preamble. Anyway. It is what it is, John What what was happening that year? Well, Lord, just what was happening that year, and I'll tell you what. As that, you can't addit, any of it out. When it's the video, patrons are getting all this. Yeah, be fair. I think we've done nine. Hit Me, but I'll go to it again. Oh God, lords of crackers, the Truman show, and that's good. I know you love it. You love it, roaring, Robert, Robert, you maybe need to watch it again. Sort of a plane I wasn't on board with. I just didn't don't like it. Snake eyes, where you're Nicholas? All right, yeah, very good. For List Cage. You don't know. A few of them didn't. The city avengers, biggest pointless fellow I've ever seen in life. Nick Nicholas Cage, the Crow, the crow, five patch Adams, oh Jesus, yeah, because because cancer can be cured with laughter. Exactly, exactly, and you know this. You know this. And Fallen, which is about a weird one. I remember watching this way Denzel, and it's about a sort of mother that sort of goes between bodies. Nope, you have that's absolutely lost on that one night. John Goodman is good crack. John Goodman. Yeah, court John Goodman and of them. That's what that's you. I'll meet John Black, Claire Flanni, though, true, and you get to see Brad Peck getting run over, don't you? Yeahie Hopkins, Athone Hopkins, round the horn. Anyway, by the bye, I saw this in ninety nine, so that's got a release in I want to say, February ninety nine in Australia. To cinema in Australia see this and had a great time. I think I might have seen this as part of a double bill with the First Guy, Ritchie film lock stock, is part of a double bill, and with lock stock, which is pretty good double bill. Anyway. You know, listeners, you don't want to hear about through the miss of time with an old hey everyone, an old man's talking should be the alternate name for this podcast. Anyway, right with the podcast that tries to an hundred things. John's got a list of things, I've got a list of things. I'm going to talk us through the film. John's gonna add some funny bits and we're gonna go from there. Happy to go, Big Fella, I'm happy brilliant stuff. Okay, so we start with Mirrormax and dimension films. Now, we did to mension films before, didn't we? So we're not gonna do it again. But I've certainly can tell you a little bit about mirrormax films. Their first film was good year, called Rock Show, Paul McCartney and Wings Concert Film. Jesus, who are Mirrormax Youn? Only the distributor paramount could have been right. Now this year Mirrormax, and this blew me away, have got a fletch film coming out. Remember fletch ship? Yeah, but it's John Hamm. I mean I loved John Hamm. Jesus, he makes some ship decisions. to WHO's standing for fletching? Two, like there's surely nobody going. Do you know what film I really liked? Fletch lives. I dug him wrong. I loved him, but I can you recreate that? Can? You wouldn't have thought so, mate. You wouldn't have thought anything for money. We open with this really angry coach, that always brilliant Robert Patrick, and again he's in on this and he he knows what a kind of film he's in. He screaming, scimming Blue Eyes. Yeah, absolutely, he doesn't look much older here and we're what six years on, seven years on from judge mcday? Yeah, absolutely screaming at his team and stand his quarterback and it's proper heart attack behavior, this, isn't it? Yeah, did you catch the song in the background? Oh God, no, I was. It was the next but I was blew me. Was Really, really annoyed it the next. The song was the kids aren't all right by the offspring from that American album which I've got CD somewhere behind. Meeting in the car tomorrow and I got CD player again. I'M gonna throw it in the car. It September one. It's high was eleventh in the US and the UK, Sixty nine in Australia, nice and forty three in Belgium's alter a pub, fifty wiland there. I don't know what then that is. It went gold in the UK, Platinum in Italy and the USAF. So we did alright. It's done, all right. They were they were big, weren't they? They were really big at that point. I went to see them, I want to say in two thousand, a couple of days after my birthday, so like the next year. Um, and there were great, fantastic and it's Colin Robinson. Fella. Um Again, listeners, if you want to see Colin Robinson walking all over the laptop, my notes, yeah, then you're gonna need to making techniques. Yeah, yeah, so they were. They were huge chill children at the time and a great zone. Yeah, there were a green deal of time. Yeah, yeah, arguably better anyway. So what's the what? What's the next song? That that got you going? As soon as I heard the REF coming in, I'm like what they're doing? I see right, yeah, we'll come to that. Yeah, we will come to that. Yeah, that fucked with me. You know what I'm talking about? Yeah, yeah, yeah, and he's approached by this unseen character. He's like, what do you want? And we fade out. That night there's a meeting of staff. There's no money for Ms Brummel. Miss Brummels just about million years old, the Blair which, no money for her computers, no money for Mr Take's trip to NYC. Now, Mr Take, the actor that played Mr Tate, we have seen in a number of things, but on this podcast he was the opposing COP chief two, Brian Cox's COP chief. Yeah, yeah, Johnny chimpo brilliant in this as well. And again. I know I mentioned every time the bad guy in masters of illusion. Oh God, yeah, yeah, yeah, I forgot about that. Actually, yeah, that's who's WHO's the WHO's the good guy? WHO's the good magician in that? Scott Bacula, is it? Is it a master of illusion? I'm making that. Yeah, as long as it's no masters universe. That's no, that's a very but the bad guy, that's skeletor it's friend. Yeah, anyway. Um, and they can't get this money. He wants stay to New York and Mrs Olsen wants to do a mute Zical, but there's no money, because I'm sure the football team will get get their kit. Yeah, and she's like they will get whatever town. You've seen what it's like on a Friday night here. Principal Drake, maybe new with by the way, you know who she is. Big Fan of cheers Lilith. Yeah, brilliant, Foxy Ist. fucking this, by the way. Yeah, appeal, complained and no, does it for me, mate, does it? Does it for me? Your Scotty, she's got to do it for you and she's my hands are tied. So No, guys and dolls. Use last year's set from our town. Now a couple of things. Guys and dolls. It was a nineteen fifty Broadway show by Frank Losser. It won the Tony that year and got a film version in nineteen in Frank soon after Marlon Brando and Gene Simmons, not the sticking out yeah, sticking out face makeup love gun one. Obviously, the famous song that we all know from it, of course, is guys and dolls were just a bunch of crazy guys and dolls. It's not. It's an episode of the Simpsons, but you get the idea. Just the joke here is, by the way, using the set from our town. Our town famously doesn't have a set, and kind of budge the joke, you know. Yeah, I liked that. I liked it. Yeah, it's good, isn't it? Yeah, and there's a lot of kind of there's a lot of funny little bits in this. I think this is probably going to be quite a long episode because I think we both love this, didn't we? Yeah, I think it's aged brilliantly well, except for some of the CG which will come to they're leaving. She says she's forgot her keys and she needs to go back into the darkened school because all the lights are off and you can't put lights back on. Apparently. Oh yeah, that's that's a rule. Yeah, she figured she she goes into her office, gets the keys and coach Willis Robert Patrick's there. He won't let it leave without a pencil. It's like, you look really pretty and I really want to borrow a pencil. Yeah, okay, and do you know what, here's your pencil. Why don't you and your pens are going to sleep it off. And what does he do? Text through her hand. Plunges it right through her hand. I looked this up. Good, I'm glad you did, because, well, just to see if I was looking at and since we're people, put pencils through hands. The only thing I can find recently, because there was an an eight year old in California's hospitalized after a billy stabbed a pencil through his knee. She that's that's just the idea of broken knees and ship is no good. I would not be a good mob enforce I couldn't find any. What all I found was bloody assholes doing magic tricks on Youtube, and I stand by this. It's not magic if you could edit a video. Yeah, to Piss off. Yeah, you need to see it in the flash if you did bud upon but what I thought was, and again for the video, this works like there's bones there, there's like there's a is there a? Yeah, yeah, there's Ale. Yeah, all right, fucking Jesus God. Yeah, alright, in the hands and fenails. And it's a good effect though, this putty hand. I liked it. She needs him in the plums and runs for it. Finds the door chained. Where is the door? The doors chained out of nowhere, and you kind of like, I don't know how's that happened, and we can kind of guess in a moment or two. She knocks coach the ground and escapes the set of scissors once again, finds that she's keyless. She's fucking useless. She makes it out and locks coaching, losing the scissors. Ms Olsen picks them up and stabs at the death of them. Is fucking slow motion. What's wrong with the face thing, Pretty Graham? Yeah, now this massive long opening scene. You had an issue with the music. Yes, what's the crack? I just there's bad enough for we're trying to get pink floyd to put music on streaming media and stuff like that. They can. They completely take a cracking song like breaking the wall and just ref it and just and get other people to sing. Don't they like it? Leave it alone. It's a perfect piece of music. Yet, Hey, class of ninety nine, leave that song along, that song on your class of night in night. John. I'm looking at it because I didn't write it down. So what's the point? Short term, American alternate rock Super Group, Super Group bunny ears, inverted commas right, consisting of members of notable rock bands. Okay, and there's a couple of notable rock bands here and some ship Lane Staley of Alice in change, I don't know, Tom Morrello, raged against some machine. You know him, Stephen Perkins, Anthony to his mates from Jay's addiction, Martin Lynn, noble novel, from the Novel Porno for Pyros, I don't know, and Matt Serlick, from one of Rachel's favorite bands, matchbox twenty. Water load of fucking bollocks they are. And that is it. They got together for that, just giving rap. Yeah, and in fact it's so good, such a good song, John. I'm gonnaice to get some facts about it. Another brick and all. Part two is the one that we know of the three parts, written as a protest song against corporate punishment, which was out ard in state schools in the UK, nine six and private schools in which explains so much of what is wrong with our current government. Yeah, it was number one in deep breath, Australia, Canada, Finland, France, Germany, Ireland, Israel, New Zealand, Norway, Portugals said it again, Sweden, Switzerland, UK, USA, and sold four million copies worldwide. Not Too Shabby. That's that's physical copies. Yeah, well, yeah, yeah, would have all been physical copies, but none of this streaming bollocks here. Mate. So it was three part of composition by Pink Floyd from nineties, seventy nine, and it was classed as a rock opera. Yeah, I love that. Have you? Have you seen another brick in the what have you seen? Is it another brick in the world the film? Yeah, yeah, yeah, yeah, horrifying stuff. It really was going to back in the day. I love that. Scary, scary Shite. A little bit of background on this school, by the way. Harrington high not real. Herrington as a town also not real. Filmed in western Lockhart, Texas, which is known as the barbecue capital of Texas, which I assume that's the next town along from Cowboyville and ship larger county. Probably definitely come at me, Texans, because you wear those healed boots, don't you either, Go Ching, Ching Ching everywhere you walk, sports pose, Tottingham Hotspurs. Yeah, but I like the fact that it's not a real place. Yep, right, this bit we go through here with with the kids. You kind of meet them all and you get their names, which is brilliant if you're doing a podcast about this, because he gets it right down who they are. Number one is Zeke Josh Hartnett and written in his Mustang, and I'm fucking wrong. I know it's not a Mustang. Now I've written it down, but nice one, pacy, I mean Casey Elijah. Would he gets rammed at this post ball's first Danny. Yeah, it's kind of like Shit. That is pretty nasty. testical trauma is a great name for a band. Is when testicles are hurt by force, the cover gets torn or shattered and blood can leak into the scrotum until it becomes tense, which can lead to infection. God, just don't keep seeing it. Stop saying testical trauma. This Delilah, my least favorite character this whole yes, yes, Georgana bet brewster, right, good looking lassie, which is on about these stay Lorder lips take seventy two hours to apply. Could not find anything state Lawder Lips, by the way. However, I did find out State Lawder was found in New York City by the woman of the same name. She was the only female to feature in the twenty most influential business geniuses of the twentieth century, as published by Time magazine. What. Yeah, so everybody else? That's amazing. Probably trump was in that. I assumed so. And she she was a sister. In the fast few days, didn't she state Lauder fucking else, she did Jordans in front of all my bowels. Of all you're paying friends, and that's the thing, John, nothing about paying. But you know she was the sister because, as we noticed, all about firmly ward, firmly, this leaders a Zi family and respect. Get my pub stand is the quarterback that we saw before and Delilah's boyfriend. Yeah, stokely clear devalt go, kind of bit bit goth kids. You know, like really low budget out of the fact of the craft. Yes, yeah, I always forget her name and listeners are screaming boys in water boys. She isn't water boy. Yeah, and that Nicholas Cage Um port of call, you know, the Fred Lieutenant bad lieutenant potkole rotten, absolute piece of ship, that film. Anyway. Elijah Wood was the first person, apparently, to cross Niagara Falls by rope as part of an adrenaline challenge. Went. Don't ask. Josh Hartnett turned down the following rolls. whoever. This kid's brilliant spider man, Super Man and Batman. Do you know what he didn't turn down, though? A film about a haircutting competition in Keith Lee, West Yorkshire. I think it's called blow dry or blow job or something. Seriously, yeah, Alan Rickman's Dad Jesus because, yeah, yeah, when we do a Yorkshire Month we'll do that. Cleared about is named after the last volume in author Lawrence de Moles, the Alexandria Quartet novels. I don't know what they are. I didn't look into them, I was busy looking at the other books. Jordana Brewster, the faculty was the first film yet know what facts, but sorry, mate. Yeah, we've got to get that, we've got to get right. And then there's this new kid, Mary Beth something, something, something's got about seven hundred names and she yeah, yeah, God, and a new kid. I've got a clue. KLEX Klan Sense Zeke, selling fake ID of the brother from that seventies show. Yeah, yeah, I was. I was looking up by misdemeanors or possession of fake ideas in America, Da up to one year's jail term, summary Probation, community service and or money toor finds up to you a thousand dollars. They'll put you in prison for fucking out, won't they? Because it's a business loving, loving. I smoked cigarettes and then everything, just sitting there smoking, just getting it on. So I'll double checked this as well, because I was unsure to this. Remember that you used to be able to smoke around about hospitals, and then he stopped all that. Yes, apparently it was the same in schools. Adults could smoke in around schools and then my support portion of the districts prohibited it from the short of phased out from sixte Al Right. Well, it was the same sort of idea, because I was. I was always wondered that. I was like, I don't actually they smoke rear schools, but apparently not. You could. You could smoke in our school staff room when I was a kid. I think it's just must be the American ones, because it just comes. So you can't smoke. You text many guns in as you want. Yeah, yeah, you have to, you can. Need to protect us over the smokers. I'm gonna Kill Cancer, I'm gonna Kill Cancer, I'm going to shoot it in the fucking face. And basically all the kids in the background are absolute pricks, all fighting, arguing, these lasses, crashing the car. And we learned that Zeke is selling this stuff. He's throwing in this drug, isn't he? Inside? Yeah, Scat, he calls it, which makes anything else any other name other than like ship. Yeah, go on, anything else. But they were in Blue Biros. In fact, I'm waving at the screen now, a green one and a black one, blue one big crystal, which I'm using to keep track of. The hanks introduced nine and in two thousand and six they sold their hundred billion. One Jesus crazy that the best selling pen in the world and the Manhattan Museum of Modern Art has made it a permanent fixture because this fuck all else going on. And I guess there are six types of point with eighteen coors. There you go. And, as I say, Black Green, I think that might be. That's a purple one. It's not a blue one anyway. But using all my wife's good pens, kicking off right in the faculty room, there's this teacher, Harry Ah and you we're gonna me all the teachers as we go on, all the faculty, and I'll kind of cover them when we cover them, but Harry was one that I was particularly interesting. Did you recognize this guy? Is that? Is that the guy with the Gender Big Fat Guy? Yeah, so it was. I felt it was a film critic when he well, yeah, kind of. Yeah, Harry Knowles, he's called. So he was. He was in the Austin Film Critic Association and you go and kicked it for sexual harassment and correct. Yeah, absolutely. Yeah, AIn'tick. Cool news was his website and yeah, he got he got kicked out for assault, sexually assaulting Jasmine Baker in two thousand at the Alamo drafthouse in Austin. Apparently he was also very easily bought by studios for reviews around about the timing of this. So I can't help thinking he might have been given this role, not speaking role, for that to bump up. Yeah, absolutely, if I don't think you needed it, and it's a lot of fun. Yeah, it was. Then a couple of things and it was like he's an alien in Phantom menace as well. Apparently, apparently he's talking the nurse. The nurse is sick, Salmahayak war. Yeah, I love the way you looked into the living room there and make sure Kirsty wasn't hearing you talk about Salmahayak. So, yeah, the she says because she's full of full of cold, and if you're sick, why don't you take take a day off? It's just I'm saving all my sick days for when I feel better. We've all been there. That's a good show. So she's trying to quiet. She's doing a ship job. Sick days. John, would you believe in America, in the in in jobs and work in America, the average for an American worker in the private sector is seven six days a year, just seven, which is astonishing. It starts in the first year at seven and it builds up, which is astonishing, astonishing, astonishing, and the reason that is so astonishing is I get I get six months paid, six months unpaid, and I've only been in my job. When you're going to use all that tomorrow. So all that, we kind of meet all these staff, I like the science teacher who's basically trying to chat up sell Ma hi, ex nurse, isn't it? And then he's a line is. Well, I might as well put a penny in my eye, which is this brilliant kind of foreshadowing of what's going to happen to again. Oh, he was John John Stewart of the whatever the American things called that. I don't think I'll watch a lot of we didn't really get it over it, did we? No, did you? Did you catching the NEMES character? Yes, but it's later on. Go for it, and I was asking. All right, yes, yes, I did. Yes, so he is. She's a nurse, Harper, you put me on the spot here, Lad Edward. All right, Edward, Edward Furlong, Edward like that, Edward Furlong. Yeah, that Edward for a long who's been clean for four years, by the way. That's enough factor throwing. But I just read Edward for long has been has been clean for the last four years. Okay, result, yeah, exactly, but jild actor going wrong, and that's actor actor inverted. Commas so, Ms Olsen comes in looking less dowdy. Her and coach are drinking all the water in the class. We've got MS Burke, Fam Ka Jansen. We only we only looked at two weeks ago and she's very different in this, isn't she nervous? Dowdy, nobody, confident. No, talking about Robinson crusoe and she said what was crusoe most afraid of? And he says callous is she said, well, no, it was the isolation. Robinson crusoe is obviously everybody's favorite dilute injuice book by Daniel don't call me Willem Dafoe from sevent and a castaway that spends twenty eight years on a remote island without a volleyball called Wilson. Well, that means cry at least seventeen for that ball. He's rude, he's a smart ass. They claim that. You know, Stan tells Delilah that that he's quitting the team and she's worried he's throwing away his chance at a scholarship. But also she's more worried that she's head cheerleader. He's the quarterback and them's the rules. You can't break, break the rules of high school. DICKHEAD. Yeah, he's a load of things as well, that boy. He's been in launce. I didn't recognize him out of a thing it was. I'm sure he was in a wheezer video. Al Right, okay, well, what him and Fonzie? A little respect? I'm sure it was that. A little respect, all right, okay, Alright, oh, he's maybe it's maybe, maybe he's in that, that loser film. You know that they did spurt bag for maybe that with the guy that fucked the pie and the lassie that got the rose petals on the tits, Dana Kroyd. Thanks to Joshin Amanda Wilson for in forming me that the FBS, who are the governing body of schools colleges, allows eighty five scholarships each year for sports. Sorry, for football it's not many, not many, so thanks very much for that. That's how I would have got my education. Yeah, yeah, but we don't need no education. Mr Take Daniel von Bergen. As we said, super troopers really boring history lesson drinking boost from this Cup, isn't he? Yeah, and stand Correctis as you want to be. On chapter five, Mary Beth approaches Stokes Lee at break. She's Reading Double Star by Robert Heinlan. Robert Heinland was a sci Fi writer. He wrote starship troopers. Previous episode won four Hugo Awards for double stance, starship troopers, stranger in strange land, which is the only one of his I've read, and the moon is a harsh mistress, and then I get that one by the rest or just Martin is reel. Okay. Delilah comes along and basically says don't, don't hang around with stokes lead because she's wearing different shades of black and calls her a violent lesbian, so which stokes stokes storms off. Basically she's a piece of ship. She goes from being a piece of ship to being a piece of ship to then not being a character. Yes, you're pointless, absolutely pointless. Casey's eating lunch alone on the bleachers and finds this insect pod's approached by the coach Um and he says, have you ever considered trying out? He says I don't think a person should run unless he's being chastede. It's a great line. And then there is for shadowing. He's not happy about running. He doesn't think anyone should run, but he's quite happy to walk to fucking more door. He really has it. Walks at pistol, he walks at Pacy, I mean Casey. He does like Harold from neighbors in the science class. Casey approaches Mr Edward Furlong with the pod. Well Stokes, he tells Mary, but she's not gay. She just doesn't like people and that's her way of keeping because in apparently people didn't want to anger out anybody. This pod look like fucking Cocuna out of pokemon. What's going on there? Furlong suggests it could be a new species. And then they spill a bit of water on it and it comes back to life. Put it in this aquarium and it grows these tendrils. Done it and as he's about to kind of put his finger and it reproduces and when he gets his finger near it, this massive teeth, like C G I teeth, didn't look great and bit him at the pool. STANTELL's coaches quitting. A coach who has gone from basically up fucking here. At the start of the movie he's just like well, you know, you're just gonna do what you're gonna do. I can't I can't do anything about that. You're telling me this the day before, you know, this the day of my daughter's wedding. And Yeah, he just basically lets him get on with it and stand saves Casey from usher in the locker room. Yeah, exactly. I mean I think he's maybe in a couple of other films as as she got like twenty kids or something. I'm sure that's the thing I heard once. I didn't do any looking into rusher. I've done all my looking into everybody else, but yeah, I'm sure I think you've got about twenty kids. Jesus here must be he was ushered. He goes into he heads into the shower. I noticed he'd got some soap on a rope. It's kind of kind of it. I haven't seen soap in the rope for ages still widely available, but in two thousand and nine the Catholic Church stopped companies selling soap on a rope or, as it was known, as pope on a rope, because Holy Father only wants his facing under age genitals. I mean might not be true. Are you liking these Catholic Church jokes? Listeners for you? Are we getting canceled? Yeah, we might be. When he's in the shower, here comes Mrs Brummel with like a Meltie face, a face like one of the aliens out of they live, and she's just going they want everyone. I can't breathe, I can't breathe. And he grabs her like, hugs her, and scalp comes away in his hand just it slops all the folio. Fantastic. Olsen explains she has cancer, because cancer makes your scalp come away from your head. And at Zeke's car he's selling this vhs of Nev Campbell and Jennifer Love Hewittt fully frontal naked. Now, of course, me being me, I had to have a little bit of a look to find out what that could be. The only thing Nev Campbell and Jennifer love Hewett have been in together. It's part of five. No Fall Front. No Fall Front, only party of five. Certainly not in the first two series I watched there wasn't. He didn't feel front of Nive Campbell. And was it world things? No, Denise Richards. You got to see her. She did for them to everybody was getting to see that. Absolutely money well spent. Ye, Delilah and Casey are in the Faculty Lounge Looking for Goss for the school paper. He says you could be a cool human when you're not being a grade a bitch. Okay, and she's like are you hitting on me? Not, everyone's fucking hitting on your doll, Olsen and the coach. They come back. Casey and Delilah locked themselves in the cupboard. Brummel died because she was too old. Almost the full faculty have now been commuted. I just thought it's so good. Here's nurse Harper. She's still sick, so we know that something wrong with her. They grab her, knock at the ground and spit this bug into her. He was like in the cupboard. The kids find brummels corps and then burst out. Not Robert Patrick and this stunt double. It was blatantly Robert Patrick. Then up to the ground and this old lady stunt double up to the ground. They're running away. Casey slips over and Delilah keeps on running because obviously she's she can be pretty cool when she's not being a grade a coward. So that night the cops, case and his parents are looking for the body. Now, did you spot this nineties power suit the dad was where? Casey's Dad was wearing shoulder pads like him? Okay, I think I think he thought he was in swingers. I think he thought he was in swing but no, deditly not. They go in with the cops and they find resuscitation Annie in the closet, this thing that I've never had to use because I don't think we ever did this at school. Don't know if you do. I think we did it in first in but yeah, never, never in school. Yeah, resuscitation Annie, developed by Norwegian toymaker Asmund lateral and Peter Safer. Good, yeah, and absolutely freaky looking fucking thing. They explain that that they also hurt the nurse and said no, we didn't. She's epileptic and she suffers from Grand Maus. Grand Maus are seizures the last only a matter of minutes but can be so severe they cause a victim to harm themselves during today they're known as tonic clonic seizures, which I think sounds like something you clean your asshole out with. I know it as an im a, actually stealing off me. What about cleaning your asshole out as well? Okay, the parents take him home after drake has taken this cop into the office and he comes out like subtly changed a hunt of a wink, as if, yeah, Alien Wink. They get him home. They said no phone, no int ripping out this physical mode. Yeah, musical music. So it is getting blast and she's got the porno under the bed, the Hump, the phone, Humph, and it was boobs magazine, not a real magazine, but just got a lot of Ms Bok A. You. Yeah, but then he's got a print, and then he's got to retaining print. Yeah, I never seen that, my laef. No, I had no idea. And then for some reason he does something and he's got this walking like what was that about? Like this walking Meccanno animal thing didn't make any sense. And then he jumps out the window. He spots the faculty as and then slips off this fucking Verandam thing and his dad calls him in, but the faculty aren't there. You know, his dad was still holding NIMBIMBS, was he? Yeah, he was. Then we see the kind of the blind coming down and it's the outline of one of the teachers, isn't it one of the faculty? or so they're going to get mom and dad the next day as they drop him off, as dad drops him off at school, Dad and culture talking, Delilah Grabs Casey. She's got glasses on and her hair tied up. Yeah, and commit a call. Exactly who she's hardly Martin landow in, that mission, impossible TV show, and he's again a reference for fucking nobody. that. Yeah, we know. Sunday morning, sixties TV in the faculty lines. are going through all this water and not drinking coffee anymore and your man's off the booze. Maybe that's what I maybe that's I've stopped drinking booze because I'm an alien. I will be doing a lot more fucking better stuff with my time than this fucking you know you've been probing left, Rinde, center. Stan tells stokes that he's quit. The team explains that he got an a on biology instead of a d because of his winning arm, because he had a good arm. Stokes, he's been watching him, following, following him, and he says I want to be a D student. I deserve that D I love the D is not quite what he says. Mr Take says he wants to live in history of the family. UH, stands like, is this going to be on the test? And it's just this line of this isn't the test. Brilliant, fantastic character. There's a cure. Kids waiting for Ers here exam in a class and the police are helping. So it's all starting to look a little bit shady. Now zeke spots that there's a couple who were scrapping previously. The LAD's chill to fuck. She's like shouting at him, screaming at him. Do you know how his lad was? I remember his face and like I know that guy was in their scream movies. Hang what was a parody of it, a scary movie. Get a movie. He was a boyfriend in the first one that shot her. What these two boys are back for some scat. They want all he's got and he gives them a load, but they keep asking. They're blating the aliens. Yeah, have you got any more in your car? Have you got any more at home? So he keeps put some in his pocket. Ms Burke's now dressed like she's going to a fucking cocktail party right. She plays three characters in this. She played he's the Mousey one. She plays shouty, Screamy, fucking nutty teacher here as the alien. She calls him a diculous excuse for a little boy and storms off. Yep Um when he tries to offer a chocolate flavored laxatives, which is the last thing I need, and some Cherry Johnny's. Yeah, magnums, weren't he there were. Yeah, so I'll look this up because I thought Magnum was to do with the size it, but no, it's it's I think that Americans think Magnum's apparently the size, but it's the same lengths and standards. circumferences are normal journey. So I don't really understand why either go or is that magnums, because it's pretty much the same size as standard johnny bags. I tend to always put magnums on my p I. Robert Homden. Yeah, if you wanted John You could indeed by twenty more Cherry Johnny's five pounds. THIRD FROM CONDOM OUTLET DOT COM. How do we know there are more cherries? May I am not buying Johnny from Condom Outlet Dot Com. Nope. Casey explains to Stokes Lee what's going on and she said it sounds like pod people from the body snatches. Body snatches are rip off from the Puppet Masters, from Robert Heinlein. Which one is your body snatchers film, John Leland? Okay, yeah, I think that was the scariest. The dog with the person's face was just freaking yeah, yeah, yeah, just the end, the fact that it's kind of like fuck, yeah, yeah, he just points at her. screeture noises horrific, don't I mean, I'm sure I will watch it again at some point, but I saw that probably as a teenager, scared the shit that. I prefer the fifties one. Yeah, where at the end he looks in the he looks in the wagon and it's these prop pods. I love that and that's that's so cute. Writer. Today standards, it was, even though it was the subject was quite horrephic. It was quite quite felt quite hormly in the it. This, this bit ripped my fucking knitting. By the way, Casey explains he thinks film directors are aliens setting us up for a proper invasion. Spielberg's Et and son and felds get shorty, I'm sorry, I mean men in black, and I'm kind of like yeah, okay, I get it. That Robert Rodriguez. He's kind of going, I'm a director, I'm talking about film directors. Give me a fucking dump truck full of cash to make more of these. No, don't totally tot when he was seen, the whole gang head to science class to see the creature is now gone. Casey explains his theory on Aliens. Zeke and Mary Beth head to this the labs oars, which is the next room across which is where he gets his stuff for SCAT, and they're about to snug to garbagees medication, which I know that song very, very well. Off Two point oh to the garbage album of the same year. It's not a single. I thought it was number one in the UK and Iceland album but nowhere else. That's a great album. It's their teacher comes in and yeah, John Stewart comes in, but not before Zeke's come in trying to make a tweat of himself, pretending like or whatever. They've heard, and Casey explains that you think that that the that they're aliens. He attacks them Zeke's rips off this fucking this blade yellow teen things, slices off his fingers, which looks great for a second and then you see the fingers crawling across the floor. Ray Harry housings crying, and then they smash him in the eye with the with the I've written, shot penning shot nail, which basically melts his face. Yes, and again it's back to what he says. I might as well stick a penny in my eye or yeah, it was coming. This is a bit of Stokes, he said. Isn't this a bit where someone says, let's get out here and stand, let's get out of here. Casey grabs the weak Acuna thing and they had for the car. Everyone's acting calm and weird and scary as they kind of head out. Yeah, they get out of dodge in the car. There's nothing on the radio and like a police roadblock, isn't there? That they speed away from. was just leading shimming show. It was a little bit like show white beetle. They get to his place. He's got an apothecary in the garage like something he's turning fucking leading a gold or something, an episode of friends. He's rich and a prick and he's been grinding up caffeine pills for I took a lot of pro plus in college. I think everybody did. Forward when it we're coffee, just for that extra kick, that's right. Yeah, just because you've done a full out of college and you're going out that night. Yeah, there isn't any touch things is an energies just wasn't red from you. If you were lucky, you got Lucas aid sport, because it's ISOTONIC. We find out that he owns a gun, which is basically Chekhov's gun maybe, and he cuts a bit off the pod and puts it in with Oscar, that wait mace. It takes over the poor thing and he wrings its neck. He could to play three blind maze, lay down and wait again, which is monthy python reference for nobody. He cuts it open to find that it's a dried out the little mouse, and he empties a penn of scat onto this rest in this pod that melts like salt on a slug. stokesly explains you've got to get the master and that will free everyone else, because school kids are fucking geniuses. Yes, they're basically figuring out that the alien people are emotionless, the puppets. It's a puppet master. They argue amongst one another. Any one of them could be an alien. Zeke solution is for them to snort a Byro. So there's obviously homost the other thing, yes, one like that scene. It's not a homage. It's fucking robbed, robbed off this thing, isn't it? Yeah, I went to school with and I do put by rows up his nose. He lays tarmac for a living now, so really just old it. Casey takes it and starts giggling, because caffeine bills do that. Oh No, it's great cackle. As little radio flyer stand grabs the gun and threatened Zeke, who takes it and stand does the same stokes. He says I'm not putting up that on my nose. Zeke says aliens are taking over. Weigh it up. It's quite a good lie actually. Delilah and Marybeth in the last two, and they won't do it. Mary Beth claims to BE ALLERGIC TO ASPIRIN. There's no aspirin in that. She does it, tips her head back and snorts. Delilah doesn't, and we get to see her with all these crawley things which look good. Casey grabs the gun but won't shoot her. stokesly does missus, and Delilah basically smashes up this drugloud throwing herself about. She's forgotten out to walk, and then she jumps in the waiting school learning car being driven by Mr Tate. What's going on? It's like as if there have been the speaking teachers. Hi've mimed, of course. So they head back to the school, which is Friday Night Lights. It's huge crowd at the game, with the Fart Rock version of another brick in the walls. Back as far as the team goes, they're called the Hornets. A spot. They were called the Hornets. There's only one or Charlotte Hornets. Charlotte Hornets, yeah, yeah, that's good to basketball. Hornets are the largest of the wasps and massive fucking assholes. The Asian giant Hornet stings cause thirty to fifty deaths annually in Japan. Would, yeah, would you believe it? And of course all American football teams have got stupid names. So, John, with that in mind, I want you to tell me if the next seven ones that I mentioned are a football team or a ship ball team? All right, football team if it's real, shipball team if it's not. Didn't really figure out the title, so you know whatever. Number one, the Minnesota Golfers. A. The Minnesota Golfers. Oh, it's a team. A. Number two, the Maryland terrapins, not sty. So it's a real football team. Yes, correct, it's a real football team. Number three, the Chicago outfits. Shut correct, it's not real. I made that one up. Number four, the wake forest demon deacons, real fucking writers, one of their shirts. Number five, the Kingston Cong's. Oh God, not made. That's a good name. Get out getting glace. Get that team made. Number six, the Martha's vineyard seamen. You're right, Rad number seven, the South Carolina Game Cocks. It is. Yeah, the job about. And so when this is going on it's funnish to where you're talking about Hornets. I've I've picked up a wee think about bees, because we're saying killed the queen and everybody go back to normal. So I just for some reason looked out to queen bees and seeing what would happened to be killed a queen. Okay, so that's what I got. So, unfortunately, queenless Corny cannot survive or for a sustained paid and absolutely queen bee effects of behavior working the worker bees. They's become aggressive. Worker bees may continue to lay eggs, but because there's no queeny finalizing, they're all drones instead of workers. All Right, knew that, you scientists, obviously, but that's that sounds pretty cool, man. Well, look, no, cool, don't. Don't kill Queen Bees. Don't, don't. You don't kill any bees place. All through the game the team are putting bugs in the ears of the other team and the tackle. It's good. This better, like Robert Patrick's doing. Amazing facial word, brilliant and yeah, yeah, fantastic stuff, like Henry clearing the water boy whenever. Yeah, in the gym. Principal Drake's here, by the way, Principal Drake, that the first person approached me. Principal Drake, did you see? This was Gillian Anderson. Oh, good, yes, yeah, yeah, again, would have been a great choice. Yeah, I think they tire up because they're certain that she's the she's the queen in this badminton net. She needs to snort the thing that she's not going to do it. So she woke some Zeke shoots are between the eyes. Yeah, just that. Nowhere. BLAMO as cases about to stab her. She comes back to life and Mary Beth throws the whole case of spun. Yes, yes, I'm melting, melting world. What the world? Good affection? There's a lot of it Israel. Where was you? Throw? Well, why? Now he knows. He's seen the end of the film. Games over in the town's heading home. Stand heads out to get the coach because there's certain now it's going to be him. Stokes. He grabs, grabs him and snugs him before he goes because she doesn't want him to die. Having not done that. Outside in the rain, coaching, the players have got their mouths open, tendrils out to the rain. Looks Great. It's like a lightning strike and you see like the alien behind yeah, and that still looks amazing. It's a really good gift as well, so I'll have to do that when I'm posting about it. Stands back at the door. They throw him a Biro wonder and he empties it away. It's beautiful. There's no pain, no fear. Se Open the door. Zeke threatens him through the door with a gun. Mum, he explains that he's got Schumer left in his car on the land and that's the stuff out of sky. Rim stiff. They head out him and Casey threw through the lot full of school busses. I was going, look at all those school busses, loads school busses there. We haven't seen a school bus in something for ages and ages and ages. By the way, remember we used to see loads of loads of them in films and it's been a while since. Yeah, yeah, I think the last probably we've seen it was in a trip. Yeah, I think so. Bigger score bus manufacturer in the US is the R E V group. They earned two point four billion revenue per year. It's astonishing. It's amazing. You can, you can, fucking you can get a contract doing anything in America. Really can. Oh, I missed this, but you can reattach fingers a maximum twelve hours after they have been slashed off. Throw that in UM cases. The Decoy was a coach and the team, because he can run, that's and he gets caught on the bus wagons by Delilah and as the team start coming through the windows, he escapes out through this. Not only can he run, but he can also fucking jump. You can jump. I thought I was watching again. I thought home coming, as Zeke said, his car and he grabs the shaiser or whatever we're calling it. Miss what's her face? Comes back now, Ms Burke, and again she's still dressed in this gear and everything. Um, she said, I don't want Cherry condoms, but I do want something cherry flavored, and you're like wow, and I think they've kind of got around this by explaining earlier on in a throwaway comment, that he's had to stay back a year, like eighteen or nineteen. Makes Sense. He jumps in the car and she jumps in the back and as he peels away she's trying to worm his ear. He throws his seatbelt on and rams this bus. She is flying out the window. Now what doesn't happen when you fly out a window, John? You don't lose your hand, you don't get get capapitated. You don't get copapitated. That's right. Yeah, but she does. And another rep off of the thing. Very much so. Yeah, and it looks like fucking garbage because they don't have her talking or anything. They just have this. They don't even have her looking at him. The photograph of her face, isn't it? Photograph of the face going along, not even moving eyes, and just as she kind of finds the rest of the body, he's like, fuck this, I am out here. It was obviously that unimpressed with the effect. Exactly in the gym, Mary Beth and Stokes, they are talking in I know you're proud of being the outsider, but aren't you tired of being something you're not? I know I am. And then she gets all wavy arms and sucking licorice whips, because it turns out she's the massive squids. It turns out this huge fucking squid thing. She chases stokes Lee and the just arrived Casey into the pool. And she jumps into this pool and she's she's sacking super swimmer, like old Phelps, isn't she? The Queen Drags stokes the under the water, but Casey throws a rope and saves her. In the Locker Room, Z comes in, stokes. He calls out to him, but Mary Beth also calls out to him as Human Mary Beth, naked with the Nipples, naked with, yeah, with Photoshop Nipples, out answer me this. Why are you naked? It's q good he takes stokes as his side, but it turns out stokes he's got squid snogs it does. He locks her in this equipment cage. Casey's made to take some more of the fucking Skank by Zeke, who then gets thrown across the locker room and knocked out. Mary best calling after Casey, explaining her world was endless oceans till it dried up and she escaped. She wanted to make her very much like home, part of the same one feeling. One Mass Mary Beth becomes a true form and chases him into the gym. Now I love this because he sets this bleacher to retract and a great strategy and then nearly gets fucking caught himself. But it just so happens that he's a really strong athletic nerdy, so he kind of runs out just as it gets caught U he stabs her in the eye and she spits jazz written Jizz Tadpoles here in his face, which is who practical effics. YEA, they fall out. As she dies. He heads over at stokely she's alive, with some dead ones next to her, and we got one last jump scare. Zeke smashes on the batting cage. Do we really need that? Do we really need it? One month later? One month later, and just just because we're doing fucking show not tell. So we do tell, not show. In this we've got news reporter going. It's a month or since the and give you away. Zeke's on the team. Uh, and fucking we miss fucking Burke's watching from the bleach. Did he lay up that factual quickly? Yeah, what the fuck? And he's said and he gets put out that cigarette and get back on the team like that is surely that would surely get you fucking kids. Yeah, these reporters are doing a new story. Stokesle and scatter and stand a winching. It turns out Casey and Delilah a thing as well. And he is Time magazine Man of the year. I think. Sure have changed, haven't they? No, no, no, no, no, no, it's a bad old wasts song and nw to do. Yeah, man, time, man of the year night in ninety nine, John Jeff Bezos. What for? Taking Daddy's money? Probably, yeah, bad year. Yeah, bad indeed. What else have you got? That's that? Let's say that your neck and main left branch center. I was deleting them left her Queen B thing at the India. Oh, I'm sorry, mate, we need to get a bit better at this night at least. No, it's nous. Were just doing a thing. The facts are a harsh mistress. Oh No, I've got one thing, John, I've got one thing. Hang on, hang on, the car. Oh, yes, so you did. We both of the car. Sure as H Nineteen Seventy pointy act here, nice sexy machine and absolutely astonished. John, you didn't have the gun. I think we've covered a gun. It's not like you do not have the good one. We have, but it's a cult detective special. Yes, but there, there it is. I'm putting it on there, and it's only because I remember seeing that gun. So smashing Um Asian giant Hornet. We have done sick days. We've done replicating a numbals, snakes, sharks and commode or dragons have been known to birth without aid from males. Bacteria and cells are the only things that can replicate. No bother. No, there was horseplay written on the shower wall. No, horseplay. Horseplay is defined as rough, boisterous play. Horses rough and boisterous. I don't get that. No, that's a weird one. A couple of facts from the back of the making of the film, released Christmas Day night in the US, grossed forty point three million domestic and sixty three million worldwide, from a budget of just fifteen. Mel Zeke is the only character not to get infected throughout the film. Oh Yeah, Tommy Hill figure provided clothing for the film in exchange for the cast to feature in an advert. That's a good one. Well, they're all good ones, aren't they? If you don't know them. We've got outtown. We've got Jillian Anderson. Oh, the tattooed girl, Mary Beth Askeworth, the office is, is Robert Rodriguez Sister, Jessica Alba, was considered for Delilah, but she was too good an actor. I added that last bit. Sherylyn Fenn was Rodriguez first choice to play burke in a while. Yeah, and that is usher's dew film. Right. There you go that that ushered him into star in other films. How do you think we got on Gordo? Oh, little bit higher, seventy six. Yeah, bad, because we always as I was going through my facts in my head and like he's got this, he's got this he's got this. So, yeah, we doubled up a lot, didn't we? To be honest, that has a good farming. A lot of the things you back up on. You really do holding on because there's a lot of specific things that you see. So that's that's what I think. You Pack Up, won't you be fair? Absolutely, absolutely. Oh, we have got a lot of patrons to thank. Again this week we've got new ones as well. Newest Patron Ian mccomish, all around Nice Guy and long term pal. Thanks you. Rachel plant. You know her. It's her birthday today as this goes live. Happy Birthday plenty. Fifty again. How many years has that been that you've been saying you're fifty? I am going to get bad for that. That's fine. Nigel Davis is the owner of wonder emporium. He does accessories for tabletop and mini games. Get Him on facebook by searching for wondering porium and buy a lot of his ship. Dan Belson. He's the red half of the B there with Belson podcast, and Gavin Belson is the blue half of the B there with Belson podcast. Aaron, Aaron from Z what? Yeah, don't kill the Queen Bee h I wonder which one of those two is. The Queen Lads. You tell US Aaron from the Z one podcast. It's an audio drama about love, life, the undead and hamsters. You can keep that, by the way. I wrote that for today. Joe Higgins, Christ we know him hallmark of greatness. Weird thing about that damnit Vince podcast. He's back on here in September for an episode. Phil fairish friend and first ever patron, picks me up on loads and stuff that we miss, but then he does pay for the luxury. I'm not sure what his excuse was the past eighteen months, but you know, hey, punk from what the funk do you want? You know him currently shouting at guests on the Monday. He's also doing this semi regular chat about Elden Ring with filthy, which I'm enjoying. has made me want to try elden ring. I like a bit of ringsting. We've got SAS. Thanks for you continued listens and support. Mono and Kira from Mono rants the boys podcast. They've got season three summary Episode, which is live now that that series has finished. Amazing crack those two. We've got biggie, comedy genius and fake scale. Sir Stigg, film reviewer, extraordinary, and next week's guest, by the way, gadget, who's a God, Tier D and d dungeon master, and there from modern escapism podcast, and do dragons deem of Scotch Sheep, which is a hears God to yeah, yes, stick is a lot of fun to build him up now so it can come crashing them. Ian From court connections PODCAST, three different media linked by one common thread. Fantastic idea for a podcast, done really well by a nice guy. He won't like me saying that. Gavin McGill, long term support of the POD, long suffering Falkirk Fan, and, of course, Josh Wilson, lovely man, terrible impressions with a great family podcast. Super knows a lot bit wetter than Miami. He does moment. It's just we didn't ask him. Ah. So next week we will be back with stigg from modern escapism and the dragon's dream of scorch sheep, talking about Oh spade, why did you leave Farley with the Queen Bees? Talking about Tommy boy? Yeah, I haven't seen this in ages and stigss what to do it again. I hope it's not shocking. I hope it's not really really bad, stig, because that would be bad crap. John. Final words, mate, guys, patrons, pen peen, guests, thank you for all your cash. Money is it's going to be a good homes and production value stuff, and thanks for everybody ever for the listening, thanks for supporting again, and thanks for your votes. Have you voted for us? So? Oh yeah, in the podcast awards? Yeah, hopefully will have. Will have won least votes for a podcast. That's a dream. That's that's all we can hope for. Yeah, fantastic. For those that are not patrons and we're not able to watch, you just miss me windmilling my knob above my head. Did all that. So give us a quid and see me windmilling my very small, thin penis above my head from there. Not Really, but you will get to see all of this nonsense. So until next week. He's been, John, I've been plenty and we have been seventy six things we learned from the faculty. See, yeah, see you, guys.  --- The Faculty is a 1998 American science fiction horror film directed by Robert Rodriguez and written by Kevin Williamson. It stars Jordana Brewster, Clea DuVall, Laura Harris, Josh Hartnett, Shawn Hatosy, Famke Janssen, Piper Laurie, Bebe Neuwirth, Robert Patrick, Usher Raymond, Jon Stewart, and Elijah Wood. The film was theatrically released on December 25, 1998, by Miramax Films through Dimension Films. It grossed $63.2 million and has developed a cult following since its release.

Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1541216980711067648 CW: Rape, Suicide, Transmisogyny It's Urban Legends Week on Pod Sematary! Chris & Kelsey round out the trilogy in a two-for-one episode to surprising results! The Classic Film: Urban Legends: Final Cut (2000) "A film school is the center of a fresh spate of killings based on urban legends” (IMDb.com). It may not be a great movie, but is Final Cut our favorite UL? Actually... The Modern Film: Urban Legends: Bloody Mary (2005) "...a trio of high school friends chant an incantation, unleashing an evil spirit from the past with deadly consequences” (IMDb.com). While there are one or two things that are moderately cool about this final (for now) installment of the franchise, the fact that we have to say that should tell you everything you need to know. Hard to believe that this is the same director as Pet Sematary and Pet Sematary Two. Audio Sources: "Blossom" produced by Touchstone Television, et al. "Die Hard" produced by Twentieth Century Fox, et al. "Don't Whiz On The Electric Fence!" written and performed by Charlie Brissette, et al. "A Goofy Movie" produced by Walt Disney Pictures, et al. "Half Baked" produced by Robert Simonds Productions & Universal Pictures "Hook" produced by Amblin Entertainment & TriStar Pictures "Labyrinth" produced by The Jim Henson Company, et al. "Pet Sematary" produced by Paramount Pictures & Laurel Productions "Scream" produced by Dimension Films & Woods Entertainment "Urban Legend" produced by Phoenix Pictures, et al. "Urban Legends: Bloody Mary" produced by NPP Productions Inc. & Screen Gems "Urban Legends: Final Cut" produced by Phoenix Pictures, et al. "You Don't Have to Say You Love Me" written by Vicki Wickham, et al., and performed by Dusty Springfield

First slashing his way to the screen as a Bob Weinstein's assistant at Miramax Films, Richard Potter read Kevin Williamson's “Scary Movie” script one night, and insisted the film be made. He convinced Dimension Films to buy it, Wes Craven to direct it, the script was re-titled “Scream,” and the rest is horror movie history. He also developed legacy titles such as “Halloween,” “Hellraiser,” and “Highlander” into their biggest and most successful releases with “Halloween H20,” “Hellraiser: Bloodline” and “Highlander: The Final Dimension.” Other films to his name: “Scream 2,” “Mimic,” “The Crow: City of Angels,” “Nightwatch,” "Phantoms” and “Diciembres.”As an executive, Potter was Senior Vice President of Production and Development at Dimension, as well as Executive Vice President of Production and Development at Relatively Media. In this episode, he discusses The Beatles, the origin of the “Scream” franchise and why his “Night of the Animated Dead” serves as a love letter to George A. Romero's horror classic, “Night of the Living Dead.” 

Vårt decennium Vi ledsagar lyssnaren igenom 00-talet och presenterar en trendspaning inom skräckfiktionen per år, med illustrativa exempel och andra grader av titelrabblande. Tomas undrar vart den geniale Alejandro Amenábar egentligen tog vägen - är den jäveln död? s.a.s. - och Lars frammanar den lilla, lilla flisa av historien då det betraktades som relevant innehåll i public service att Orvar Säfström ondgjorde sig över mängden presscitat på svenska DVD-omslag. Vi pratar också om: J-horror, K-horror, Ringu, Ju-on: The Curse, Takashi Shimizu, Ju-on: The Grudge, 4444, Onryo-legenden, A Tale of Two Sisters, Battle Royal, Dark Water, Koji Suzuki, Hideo Nakata, Thorsten Flinck, The Others, Nicole Kidman, Sjätte sinnet, Devil's Backbone, Session 9, Paranormal Activity, Ghost Ship, El Orfanato, Barnhemmet, 13 Ghosts, Marduk, Morgan Håkansson, Dimension Films, Dimension TV, Tom Cruise, Eyes Wide Shut, The Northman, Robert Eggers, Alexander Skarsgård, 28 Days Later, 28 dagar senare, Filmkrönikan, Danny Boyle, Dawn of the Dead, Död snö, fågelinfluensan, galna ko-sjukan, Shaun of the Dead, Max Brooks, World War Z, Herman Geijer, Hanteringen av odöda, The Walking Dead, Sagan om ringen, Scyther, Rabid Manhunter, Alex Garland, Beach, The Texas Chainsaw Massacre, Motorsågsmassakern, Omen, Halloween, The Hills Have Eyes, Fredagen den 13:e, Michael Bay, Marcus Niesbel, Rec, Quarantine, Michael Henneke, Funny Games, Peter Stormare, James Gunn, Slither, Deathproof, Quentin Tarantino, House of the Devil, Ti West, Scream, John Ajvide Lindqvist, Låt den rätte komma in, Ordfront, Clive Barker, In the Hills the Cities, Mats Strandberg, Sara Bergmark Elfgren, Mikael Strömberg, Jens Daniel Burman, Johan Theorin, gothic crime, Nordic noir, Andreas Marklund, Skördedrottningen, Det okända, Anders Fager, Pappersväggar och Vikarien. För vanliga söndagslyssnare avbryts det roliga redan i och med den nya vågen av svensk skräcklitteratur 2004, medan Patreon-lyssnare avnjuter dubbel speltid och får följa med hela vägen fram till 2009. Det var tider. Nostalgi, löst tyckande och akademisk analys.

This week the BeWBs welcome back Erin Marlow from It's A Fandom Thing Podcast (https://itsafandomthingpod.com/) to play Bed Wed Or Behead with three Christian Bale characters! Plus, if you're a fan of the Bale content on Fandom Thing, you know Christian "himself" will inevitably make an appearance here (wiiiiiink).In this episode, we take on Dan Evans from 3:10 To Yuma (2007, Lionsgate Films), John Preston from Equilibrium (2002, Dimension Films), and Melvin Purvis from Public Enemies (2009, Universal Pictures). The roles may be serious but your hosts are decidedly not! So who gets the ring, the fling, or the guillotine? Press play and find out!

Film production often has a habit of going way off the rails. In recent years, the news has been full of torturous, drawn-out production histories on movies that limp their way to the finish line, often coming out in highly compromised forms. Usually, the only movies we here about are big budget tentpoles, but more modest films often meet a similar fate, such as HELLRAISER: BLOODLINE, which underwent massive reshoots and re-edits at the hands of Dimension Films. So what exactly went wrong, and is there a version out there of HELLRAISER: BLOODLINE that's in line with what was originally intended? And would such a version even be worth the effort to track down? Join us as we try to answer those questions in the latest edition of WTF Happened To This Horror Movie!

Rob Zombie’s Halloween: Turning the Knife 15 Times  Rob Zombie’s Halloween reboot from Dimension Films has been trashed by many a horror fan over the past fifteen years. Granted, this comes from those enamored with John Carpenter’s original from 1978. Well, it’s hard to argue when many consider the Carpenter version to be the penultimate slasher... Read More The post THE LAST KNOCK presents: Rob Zombie’s Halloween appeared first on Crash Palace Productions.

Join Courtney Moorehead Balaker to talk about the POWERFUL habit of FOCUS. This is a different take on productivity, and one that has let allowed her to be so extremely successful! Courtney is an award-winning filmmaker, theatre director, and co-founder of Korchula Productions. Courtney wrote, directed, and produced Little Pink House, an award-winning Korchula Productions feature film about Susette Kelo's historic fight to save her home and neighborhood. The film stars two-time Academy Award nominee Catherine Keener (Get Out, Being John Malkovich, The 40-Year-Old Virgin) and Emmy nominee Jeanne Tripplehorn (Big Love, The Firm, Grey Gardens). The film has been lauded by the likes of The Hollywood Reporter (“The bottom line—it hits a nerve”) and Deadline Hollywood (“Keener nails the combination of anger, grace, and attitude that made Kelo a nationally known crusader”). It has won a variety of awards including the HBO Audience Award at the Provincetown International Film Festival and the Vail Film Festival Audience Award. Courtney's script was selected as a finalist for the Athena List, which recognizes the best screenplays with strong female protagonists. Courtney's feature film production credits include The Collector (Josh Stewart), American Pie Presents the Naked Mile (Eugene Levy), and Pulse (Kristen Bell, Ian Somerhalder). She produced Can We Take a Joke?, a Korchula Productions documentary featuring comedians such as Gilbert Gottfried, Penn Jillette, Lisa Lampanelli, and Jim Norton. The film has been lauded by The Hollywood Reporter, The Los Angeles Times, and comedy icon Seth MacFarlane, among others. Courtney served as a producer on America in Primetime, an award-winning four-hour PBS documentary series that examines the creative process behind primetime's most iconic and groundbreaking shows. The series features interviews with Ron Howard, James L. Brooks, Sarah Jessica Parker, Larry David, Norman Lear, Alec Baldwin, David Lynch, Jon Hamm, Danny DeVito, Mary Tyler Moore, and Dick Van Dyke, among others. Courtney began her film career at Neo Art & Logic, a feature film production company with an overall deal with Dimension Films where she developed new screenplays and went on to serve as Vice President of Development. Neo's credits include He Was A Quiet Man (Christian Slater, William H. Macy), Dracula 2000 (Gerard Butler, Nathan Fillion), and The Prophecy (Christopher Walken). Courtney holds a bachelor's degree in psychology from the University of Colorado at Denver and a master's degree in theatre directing from the Royal Academy of Dramatic Art and King's College London. She is currently producing the feature documentary The Coddling of the American Mind, based on the New York Times bestselling book of the same title.

Join Courtney Moorehead Balaker to talk about the POWERFUL habit of FOCUS. This is a different take on productivity, and one that has let allowed her to be so extremely successful! Courtney is an award-winning filmmaker, theatre director, and co-founder of Korchula Productions. Courtney wrote, directed, and produced Little Pink House, an award-winning Korchula Productions feature film about Susette Kelo's historic fight to save her home and neighborhood. The film stars two-time Academy Award nominee Catherine Keener (Get Out, Being John Malkovich, The 40-Year-Old Virgin) and Emmy nominee Jeanne Tripplehorn (Big Love, The Firm, Grey Gardens). The film has been lauded by the likes of The Hollywood Reporter (“The bottom line—it hits a nerve”) and Deadline Hollywood (“Keener nails the combination of anger, grace, and attitude that made Kelo a nationally known crusader”). It has won a variety of awards including the HBO Audience Award at the Provincetown International Film Festival and the Vail Film Festival Audience Award. Courtney's script was selected as a finalist for the Athena List, which recognizes the best screenplays with strong female protagonists. Courtney's feature film production credits include The Collector (Josh Stewart), American Pie Presents the Naked Mile (Eugene Levy), and Pulse (Kristen Bell, Ian Somerhalder). She produced Can We Take a Joke?, a Korchula Productions documentary featuring comedians such as Gilbert Gottfried, Penn Jillette, Lisa Lampanelli, and Jim Norton. The film has been lauded by The Hollywood Reporter, The Los Angeles Times, and comedy icon Seth MacFarlane, among others. Courtney served as a producer on America in Primetime, an award-winning four-hour PBS documentary series that examines the creative process behind primetime's most iconic and groundbreaking shows. The series features interviews with Ron Howard, James L. Brooks, Sarah Jessica Parker, Larry David, Norman Lear, Alec Baldwin, David Lynch, Jon Hamm, Danny DeVito, Mary Tyler Moore, and Dick Van Dyke, among others. Courtney began her film career at Neo Art & Logic, a feature film production company with an overall deal with Dimension Films where she developed new screenplays and went on to serve as Vice President of Development. Neo's credits include He Was A Quiet Man (Christian Slater, William H. Macy), Dracula 2000 (Gerard Butler, Nathan Fillion), and The Prophecy (Christopher Walken). Courtney holds a bachelor's degree in psychology from the University of Colorado at Denver and a master's degree in theatre directing from the Royal Academy of Dramatic Art and King's College London. She is currently producing the feature documentary The Coddling of the American Mind, based on the New York Times bestselling book of the same title.

We tackled fan-made productions of previously existing genre material before on the show so why not be the one main podcast to tackle Clive Barker's Hellraiser? Cort from Cinema Psyops rejoins in the mayhem! Which of these are possibly better than the lesser sequels? Why the (considered non-canon) Revelations and confusingly recent Judgment sequels were essentially fan-films that got official distribution? Did anyone else realize that some of these fan films cross over with Dimension Films' other franchise The Prophecy? Which ones had ideas and effects that blew both Cort and I's minds despite their rushed editing and unengaging acting? And more Hellhound Hearted tales by the fans that adore the franchise!   MAIN LINKS:  LinkTree: https://linktr.ee/JURSPodcast Facebook Group: www.facebook.com/JackedUpReviewShow/ Twitter: https://twitter.com/JackedUpReview  Instagram: https://www.instagram.com/jacked_up_podcast/  SHOW LINKS: YouTube: https://m.youtube.com/channel/UCIyMawFPgvOpOUhKcQo4eQQ iHeartRadio: https://www.iheart.com/podcast/269-the-jacked-up-review-show-59422651/ Podbean: https://jackedupreviewshow.podbean.com Spotify: https://open.spotify.com/show/7Eg8w0DNympD6SQXSj1X3M Apple Podcasts: https://podcasts.apple.com/us/podcast/the-jacked-up-review-show-podcast/id1494236218 RadioPublic: https://radiopublic.com/the-jacked-up-review-show-We4VjE Overcast: https://overcast.fm/itunes1494236218/the-jacked-up-review-show-podcast Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy9hNDYyOTdjL3BvZGNhc3QvcnNz Anchor:  https://anchor.fm/s/a46297c/podcast/rss PocketCasts: https://pca.st/0ncd5qp4 CastBox:  https://castbox.fm/channel/The-Jacked-Up-Review-Show-Podcast-id2591222  

A less than enthusiastic reaction to 2002's “Halloween: Resurrection” left the famous horror franchise in limbo as producers tried to figure out the best way to go forward. Numerous scripts were produced that included Michael Myers facing off with the Cenobites from “Hellraiser,” another featuring the return of Jamie Lloyd and even one that would serve as a prequel of sorts to take place during the events of “Halloween III: Season of the Witch.” Ultimately, Dimension Films reached out to rock star turned director Rob Zombie to see if he would be interested in taking a stab at a new “Halloween” movie. As a lifelong fan of the franchise, Zombie jumped at the chance to make his own version of the film but only after original creator John Carpenter gave his blessing by saying “make it your own.” Zombie ended up writing the script that he would direct while essentially remaking the original film while adding plenty of his own unique touches. With so much control over the project, Zombie was able to cast the film his way including the addition of unknown actress Scout Taylor-Compton in the lead role as babysitter Laurie Strode, who has a terrible family secret that will soon come back to haunt her…In the latest episode of Rewind of the Living Dead, we're going to put on our masks and get ready to face the boogeyman as we discuss Rob Zombie's “Halloween”… 

Take an elevator back into hell and uncover the cancelled Patrick Lussier and Todd Farmer Dimension Films HELLRAISER reboot. We've featured Lussier and Farmer on our HALLOWEEN 3-D episode, and these filmmakers are back for yet another helping of Development Hell. Discover their multiple big budget treatments meant to bring Pinhead back into action on a large scale. Patrick Lussier is the director behind DRACULA 2000, DRIVE ANGRY and MY BLOOD VALENTINE 3D. He was also Wes Craven's longtime editor and protege on projects like SCREAM and NEW NIGHTMARE.If you're a HELLRAISER fan, then this is the episode for you. Special guest: Tyler Doupe'References:Bloody DisgustingThe Movie Crypt PodcastMoviefoneFor every horror title to hit V.O.D, countless others end up D.O.A. Development Hell is the podcast dedicated to unearthing these cursed horror productions — to find out what went wrong — and decide if they still stand a shot at the green light. Make sure to check out past episodes including Neill Blomkamp's Alien V, the cancelled Hellraiser reboot, and Freddy vs Jason vs Ash!Development Hell is a proud member of the DREAD Podcast Network. Theme music by Drew Pidgeon See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

WE ARE BACK! We inadvertently ended season one and took a break during Dec. 2020. There were jobs to be done, covid to run from, and films to be watched. We begin our second season with 1996's SCREAM! It is fitting we start January 2022 with it as its newest installment simply known as Scream 2022 is entered into the film series. We dive into 90's nostalgia, Wes Craven, and all the things we loved about the OG Scream and give you some details maybe you didn't know about it along the way.ENJOY!

In Episode Nine - get ready to go deep Scream. This is the inside story of production from the very beginning. Richard Potter guides us through the arrival of the script, the process of bringing it to Dimension Films and how 'Scream' started its wild success story. 

Casey Bowker & Ruben Romero join me today to review Scream & Scream 2. The sleepy little town of Woodsboro just woke up screaming. There's a killer in their midst who's seen a few too many scary movies. Suddenly nobody is safe, as the psychopath stalks victims, taunts them with trivia questions, then rips them to bloody shreds. It could be anybody... Scream was written by Kevin Williamson, directed by Wes Craven, and distributed by Dimension Films. It stars Neve Campbell, David Arquette, Courtney Cox, Mathew Lillard, Rose McGowan, Skeet Ulrich, and Drew Barrymore. Scream was credited with revitalizing the horror genre of the 1990s, after the influx of direct-to-video horror titles and sequels. It combined the slasher genre with comedy, satire, and a whodunit mystery.  Sydney, Randy, Dewey, and Gale survived the events of the first "Scream," but their nightmare isn't over. When two college students are murdered at a sneak preview of "Stab," a movie based on the events from the first film, it's clear a copycat killer is on the loose. Sydney and her fellow survivors have to find out who is behind this new murder spree before they all end up dead. Scream 2 was released a year later, with Williamson and Craven coming back as, writer and director. The sequel was developed while writing the initial script for Scream. It was considered a financial success on par with Scream, which helped spawn further sequels.  Casey Bowker and Ruben Romero Casey Bowker has been a great friend of the podcast, coming back to talk about several different movies and talking about his various projects. You can follow him by heading over to www.dfatcomics.com or following him on Twitter and Instagram. Ruben Romero joined us to talk Inferi, and proudly showed his love for Scream. You can follow him on Twitter and Instagram. Alternative Scream poster by: Ralf Krause. Get our Merch: bit.ly/NerdsMerch Follow us on social media: https://twitter.com/NerdsFTC https://www.instagram.com/nerdsftc https://ww.facebook.com/NerdsFTC Saul: https://twitter.com/Better_CallMe Greg: https://twitter.com/ThatAmazingTwit https://www.instagram.com/thatamazingtwit David: https://twitter.com/DaveyDave503 https://www.instagram.com/daveydave Theme by: Jake Lionhart https://twitter.com/Jake_Lionheart