Podcasts about Dino De Laurentiis

This week on Perf Damage, we're going behind the mask of the new 4K HDR release of Danger: Diabolik (1968) — coming soon from Kino Lorber!Charlotte walks us through the work behind the new transfer from the original 35mm camera negative—what was done, what wasn't, and why it looks better than ever. She shares behind-the-scenes stories of how some of the original opticals were updated, how a long-missing outro was rediscovered, and why this version is the most faithful to the original Italian release we've ever seen on U.S. home video.Meanwhile, Adam dives into the wild world of production drama—from casting clashes to Dino De Laurentiis being... well, Dino. Expect pulp, politics, and plenty of behind-the-scenes chaos.If you're a fan of Mario Bava, deep cuts in film restoration, or just want to know how Diabolik got his groove back in 4K, this episode is for you.Subscribe for more deep dives, restorations, and film nerdery.The new 4K HDR disc is coming soon from Kino Lorber!Note: This episode is not affiliated with or sponsored by Kino Lorber. We're just excited to talk about the work that went into this release and share what went on behind the scenes and we recommend that you pre-order a copy of the disc!Contact Us At:www.perfdamage.comEmail : perfdamagepodcast@gmail.comTwitter (X) : @perfdamageInstagram : @perf_damageLetterboxd : Perf DamageCheck Out our Youtube Channel:https://www.youtube.com/@PerfDamagePodcast

“Barbarella, pychodella, there's a kind of cockleshell about you…” It began as a scandalous comic book, then Dino De Laurentiis thought, “hey, they oughta make a movie about that.” …and now, Ben and Eugene have to watch it and discuss it. It's the 1968 movie, Barbarella starring Jane Fonda.

After talking about Flash Gordon two episodes ago, it seemed only fitting that we review Barbarella, producer Dino De Laurentiis's first foray into sci-fi comic book adaptation. Of course, this one has a much dirtier mind, stemming from director Roger Vadim's eagerness to bring campy eroticism into the far reaches of space with the help […]

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Vuelve Arnold Schwarzenegger a las estanterías de nuestro videoclub, nuevamente en una película de espada y brujería basada en Red Sonja de Roy Thomas y Barry Windsor-Smith, aunque, esta vez no como Conan el bárbaro, pero casi. Le acompañan de nuevo Dino De Laurentiis, Richard Fleischer y Sandahl Bergman más Brigitte Nielsen, Ennio Morricone y Paul L. Smith. Presentan Carlos Cubo e Ismael Rubio. Edición Ismael Rubio. Síguenos, Comparte, Comenta y dale al LIKE, ¡¡Gracias!! ➡️ Únete gratis a nuestro grupo de Telegram https://t.me/tiemposdevideoclub ➡️ Camisetas, Tazas y Merchandising https://latostadora.com/shop/TDV ➡️ Invitándonos a un café en https://ko-fi.com/tiemposdevideoclub ➡️ Visita nuestras RRSS https://allmylinks.com/tdvideoclub ➡️ Contáctanos en tiemposdevideoclub@hotmail.com ¡¡Visita y comparte nuestro nuevo Videoclub con todos nuestros programas a la carta!! https://es.pinterest.com/tiemposdevideoclub/videoclub/ Escucha este episodio completo y accede a todo el contenido exclusivo de Tiempos de Videoclub. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/1476931

Pathetic Earthlings, who can save you now?Well, there might be one guy...Flash Gordon has been on our screens for almost 90 years, and the story of the dashing all-American hero, his companions, and his battles against Ming the Merciless laid the groundwork for modern sci-fi, influencing everything from Star Wars, Battlestar Galactica, Star Trek and Doctor Who.From his humble comic strip roots, Flash's adventures were perfect for a modern film adaptation, and legendary film mogul Dino De Laurentiis was adamant he knew what he wanted for his Flash Gordon; a visual feast, a lavish production, a playful tone and his friend Danilo Donati as the production and costume designer.From its colourful costumes to its campy dialogue, Flash Gordon is a spectacle that has transcended time, and cinema owes Flash a huge debt of gratitude, but it was not an easy movie to make. Its original director Nicolas Roeg ended up leaving after a year, and Mike Hodges stepped up, but with very little control over what you see on screen. Queen's iconic soundtrack for Flash Gordon was groundbreaking, blending rock music with film scoring in a way that had never been done before. Flash Gordon remains a cult classic, influencing generations of filmmakers and fans, and continues to be celebrated for its unique charm and creativity. Despite the issues behind the scenes, and the behaviour of their leading man, Flash Gordon has an undeniable charm that has kept it alive in the hearts of fans worldwide. It alive? Sorry, I meant... GORDON'S ALIVE!I would love to hear your thoughts on Flash Gordon (1980) !Verbal Diorama is now an award-winning podcast! I won the Best Movie Podcast in the inaugural Ear Worthy Independent Podcast Awards recently. I am beyond thrilled, and hugely grateful to the Ear Worthy team. It means so much to me to be recognised by a fellow indie outlet, and congratulations to all the other winners!CONTACT.... Twitter @verbaldiorama Instagram @verbaldiorama Facebook @verbaldiorama Letterboxd @verbaldiorama Email verbaldiorama [at] gmail [dot] com Website verbaldiorama.comSUPPORT VERBAL DIORAMA....Give this podcast a five-star Rate & Review Join the Patreon | Send a Tip ABOUT VERBAL DIORAMAVerbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em | This podcast is hosted by Captivate, try it yourself for free. Theme Music: Verbal Diorama Theme Song. Music by Chloe Enticott - Compositions by Chloe. Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique StudioPatrons: Claudia, Simon, Laurel, Derek, Cat,...

En compañía del crítico Jorge Loser, los chicos de Par-Impar conversan de Orca. La ballena asesina, producida por Dino De Laurentiis. Nuevo episodio del podcast Par-Impar de esRadio en el que Dani y Juanma conversan con el crítico Jorge Loser de Orca. La ballena asesina, considerada habitualmetne una mera copia de Tiburón, estrenada dos años antes, pero que es una muestra de cine de monstruos con otras ambiciones muy distintas. Protagonizada por Richard Harris y Charlotte Rampling, esta producción de Dino De Laurentiis tiene una factura mucho más europea pese a contar con un realizador norteamericano, Michael Anderson (La vuelta al mundo en 80 días). Y el argumento, que narra la venganza de una ballena contra el pescador que mató a su compañera y su bebé, tiene mucho más tela que cortar de la que parece.

Check out our other Arnold Schwarzenegger topics: 965: Last Action Hero, 1004: Predator, and 1014: Terminator 2. We briefly touch upon the ethical use of AI and the recent Writers Guild of America strike, which you can learn more about from our episode Inside View of the 2023 media strikes. Next week on The Rad Network: we'll feature Crank (2006), and a friend of the podcast has BIG NEWS!

Phillip Caruso sits with Paris Chong to chat about some of the biggest names in Hollywood, including Francis Ford Coppola, Robert De Niro, Al Pacino, and Tom Hanks. He was able to work with these directors due to his reputation and connections. When Caruso was starting out, Robert Zemeckis wanted to work with him because he had worked with Ron Howard. When he asked Zemeckis how he got to him, he was told that they looked at Ron Howard's crew and “figured that if you're working with Ron, then that's who we want to work with.” Caruso started working in the film business at a young age. His father had been involved in the industry and left him a lot of equipment. Caruso learned how to work the equipment as a child and started making his own films at fifteen. He got his union card as a still photographer and started working with Dino De Laurentiis. If you enjoy Hollywood stories, Phillip has a lot of them. Show Notes: www.theparischongshow.com/episodes/phillip-caruso-lifetime-film-enthusiast-and-set-photographer-of-your-favorite-movies Chapters: (00:00:00) Intro (00:00:33) Phillip Caruso (00:01:22) Working with Coppola (00:07:40) You Call Robert Dinero "Bob"? (00:09:53) Jumping Back to Casino (00:13:14) Life On Set (00:17:24) Becoming Set Stills (00:26:02) Family (00:28:02) Working With Ron Howard (00:33:14) Far & Away (00:34:02) The Funnest Movies to Work on (00:36:29) Wine & TV Work (00:40:10) More Ron Howard Stories (00:42:10) Where To Find You (00:44:09) One Last Question (00:45:50) Outro

Este mes nos hemos pasado. Este el programa de noviembre, pero nosotros no somos Christopher Walker y no lo vimos venir. No nos hemos podido poner juntos a grabar, Así que hemos tenido que posponerlo pero seguimos a película por mes y será de diciembre la que nos escoja Frans Esta vez el año que corría era 1983 y David Cronenberg venía de realizar su film de culto Videodrome. Una película que los fans del género encumbraron pero el resto de la gente huyó. Cronenberg, de origen canadiense quería desembarcar en Hollywood y llegar a más público y para ello decidió filmar un guión que no es suyo y que adapta una novela del maestro de los best selles de suspense Stephen King. Fue el productor de la cinta Dino De Laurentiis el que quería a Cronenberg y aunque él inicialmente rechazó la oferta fue el conocer a la productora asociada Debra Hill cuando cambió de opinión. Cinco guiones le dieron a Cronenberg incluyendo uno del propio Stephen King que Cronenberg describió como el peor de todos. Hubo mucha implicación de Cronenberg en el guión, cambios con respecto a la novela especialmente el ofrecerle un carácter episódico en lugar de historias paralelas. El resultado ha sido alabado por el propio King. Sin embargo la película no consiguió el éxito en taquilla, según el propio Cronenberg por falta de confianza en la cinta y mala distribución y marketing. Respecto a lo primero, puede tener algo de razón ya que la cinta se suponía que iba a ser estrenada en el festival de cine de Toronto y fue echada atrás a tan solo tres días de su proyecto. Y lo segundo… pues también, el jefe de marketing de Paramount fue arrestado por malversación de fondos, presuntamente algunos de ellos destinados a la promoción de la cinta.

It's Spooktober so we're only talking movies that are set on Halloween - no matter how tenuously. That's how we ended up in Stephen King Werewolf territory. It's only bloody Silver Bullet, isn't it? This week I would like to offer apologies to The Cories, Serpico, Dino De Laurentiis, and The Gingerdead Man  Do your bit: Rate and review us wherever you're listening  Email us with your thoughts, questions, and FT slash fiction Follow us on Instagram and TikTok Check out Red Scare Industries Order 20 Years Of Dreaming And Scheming

NOTE: This is the full BLUE VELVET episode. If you listened to the first half that we posted two weeks ago, you can fast forward to the 1 hour 33 minute mark. "I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret." DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question. But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD. And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision. That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career. Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week. Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot). ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Elton Novara | Jvance325 | MagicBloat | Nate Izod | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Faustus joins Bobby and Mike to talk about the Dino De Laurentiis "spoof" of James Bond films. CIA agent Kelly is stationed in Rio de Janeiro, covertly monitoring a wealthy industrialist, David Ardonian, who harbors a secret plan to sterilize the global population and repopulate the world himself, with captured women in clear cubes.

l⁠⁠inktr.ee/CatchingUpOnCinema⁠⁠⁠⁠ This month is Masterclass Month at Catching Up On Cinema! September 2024 marks our 6th anniversary of podcasting, and to commemorate the occasion, we take a month to do a deep dive on a popular, long-lived movie franchise. For this year's Masterclass, we'll be reviewing the Hannibal Lecter series of films! Created by author Thomas Harris, Hannibal Lecter is a charismatic serial killer that, across multiple novels, films, and most recently, TV series, has consistently captivated global audiences since his inception in 1981. This week, our Masterclass continues with a review of Ridley Scott's, Hannibal (2001)! An adaptation of the third of Thomas Harris' Hannibal Lecter series of novels, Ridley Scott's, The Hannibal (2001) is a messy adaptation of the lewd, nasty, and messy novel of the same name. Produced by Dino De Laurentiis (who also produced Manhunter, but passed on the more critically and financially successful The Silence of the Lambs), Hannibal is a lavishly orchestrated, and borderline melodramatic film, that unfortunately lacks the clarity and focus of its predecessors. Contributing massively to the entertainment value of the somewhat messily constructed film, Anthony Hopkins returns to reprise his role as the titular Hannibal Lecter, though Jodie Foster is replaced by the very capable Julianne Moore for the role of Clarice Starling, reportedly due to Foster objecting to the depiction of Clarice in both the novel and screenplay. Special mention needs to be given to Gary Oldman's (apparently uncredited) performance as Mason Verger, which is truly one of a kind, and unforgettable, the late Ray Liotta as Paul Krendler, in one of his slimier villain turns, and Giancarlo Giannini as Inspector Pazzi, who in an alternate universe, could have made for a fine protagonist for the entire film, rather than an extended chapter of it. Handsome to look at, and featuring at least 1 or 2 excellent, and highly memorable scenes, Hannibal is not a film without value, however it suffers dreadfully from having too many moving parts, a meandering pace in it's latter half, and perhaps most important of all, from being a tamed and sanitized adaptation of a bizarre, sleazy, and not especially great novel. Follow us on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@catchinguponcinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@CatchingCinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Like, share, subscribe, and we'll catch you next time!

"I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret." DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question. But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD. And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision. That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career. Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week. Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot). ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After the critical and commercial success of THE ELEPHANT MAN, David Lynch was suddenly a hot commodity in Hollywood, although it soon became clear that, although many studios were seeking out the idiosyncratic director, what they wanted was another ELEPHANT MAN, and not another ERASERHEAD. While Lynch would pass on many of the projects offered to him (which we document in this episode), he eventually signed on to direct Frank Herbert's sprawling science fiction epic DUNE for famed Italian producer Dino De Laurentiis. The resulting film was, for Lynch, "a great sadness," a betrayal of his own artistic sensibilities and a film that was reviled by critics and ignored by audiences. Although it's gained a modest cult following in the 40 years since its release, it's generally considered a failure by most, even die hard fans of David Lynch. In this episode, we'll tell you everything you want to know about how DUNE came to be, from previous directors who'd attempted to adapt it, to how Lynch became involved, and the myriad of troubles that the cast and crew had while making the film in Mexico. We'll also discuss the film's eventual release, its legacy, and the incredible impact that it had on Lynch's career going forward. An Extended Episode — exclusive to CinemaShock+ subscribers — contains bonus content including our fan favorite "Somebody Needs A Nap" segment (where we read and react to reviews of DUNE that we've found on the far reaches of the internet), our "Further Viewing" recommendations and more! Join now at cinemashock.net/plus. Up Next: David Lynch: Episode 5: BLUE VELVET. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Im Fahrwasser von "Der Weiße Hai" produzierte Dino De Laurentiis 1977 den Film "ORCA - Der Killerwal". Doch handelt es sich dabei nur um einen billigen Cashgrab oder um eine Perle des aquatischen Tierhorrors? Im Rahmen der #NoSharkWeeks fühlen Chris und Philip den Zahnwal auf den Zahn. Besucht uns auf unseren Socials https://linktr.ee/dinosdaemonendoktoren und vergesst nicht unsere Community-Frage zu beantworten: "Wenn ihr ein Orca wärt, welche Yacht würdet ihr als erstes versenken?" ORCA Ost by Ennio Morricone

In 1975 with the release of JAWS, Italian producer Dino De Laurentiis decided he wanted to make a film that would rival Spielberg's masterpiece, and with the help of director Michael Anderson and actor Richard Harris, they would release ORCA. A movie about the one animal who can defeat Bruce himself. With great use of live footage and practical effects, ORCA looked like the film that could compete, but unfortunately it barely stayed afloat. We look at the ups and downs of this whale of a movie to determine if this was just a JAWS clone or something more, this week on the DISSECT THAT FILM PODCAST: S2 E23. #MovieReview #DissectThatFilm #orca #richardharris #dinodelaurentiis   Promo:  Give Me Back My Action and Horror Movies Podcast Cinema Slabs   INTRO BY JASON OF BINGE MOVIES Track: Infraction- A.I. Music provided by Infraction No Copyright Music Spotify: https://bit.ly/3Z2Ae1q Outro Music by DARKRAIZARD   LIKE, COMMENT, SUBSCRIBE and HIT THE BELL   GO TO OUR LINKTREE FOR ALL OF OUR LINKS https://linktr.ee/dissectthatfilm   FOLLOW THE HOST Twitter: https://twitter.com/parkerdissects Instagram: https://instagram.com/parkerdissects   FOLLOW THE CO-HOSTS https://twitter.com/dnagaming_1 https://twitter.com/roehm_21dw (Dan) https://twitter.com/aradella (Angela)   WATCH THEM ON TWITCH https://twitch.tv/dna_gaming1

This week Paul, Javi, and - indubitably - Producer Brad contemplate Conan the Barbarian, John Milius' sweeping, serpent-filled, and surprisingly soup-laden adaptation of Robert E. Howard's legendary pulp hero, brought to laconic life by Arnold Schwarzenegger in the role that made him an icon. Crom commands you to heed this episode as we chronicle Arnold's epic quest to deliver a monologue that measures up to those of his magnificently mellifluous co-stars James Earl Jones, Max Von Sydow and Mako! And did we mention the soup?  (And yes, astute listeners, we realize we're breaking continuity by reaching back to a movie that opened on May 14, 1982, but you can trust us as much as steel that this journey into high adventure is infinitely preferable to the wheel of pain that was The Secret of NIMH!)

All the way back in 1985 prolific horror writer Stephen King was asked by the infamous Dino De Laurentiis to direct a movie based on a short story he wrote back in the 70's called Trucks. In 1986 after production issues, major substance abuse by King and a wild ride for the cast and crew involved we got MAXIMUM OVERDRIVE. Lets crank up some AC/DC, crack open a Miller and hunker down at the Dixie Boy as we tell them trucks WE MADE YOU! with special guest Patrick O'Riley of the amazing Vintage Video Podcast, this week on the DISSECT THAT FILM PODCAST: S2 E21. #MovieReview #DissectThatFilm #maximumoverdrive #stephenking   Promo:  @VintageVideoPod    Check out Patrick and Vintage Video Podcast: https://linktr.ee/vintagevideopod   INTRO BY JASON OF BINGE MOVIES Track: Infraction- A.I. Music provided by Infraction No Copyright Music Spotify: https://bit.ly/3Z2Ae1q Outro Music by DARKRAIZARD   LIKE, COMMENT, SUBSCRIBE and HIT THE BELL   GO TO OUR LINKTREE FOR ALL OF OUR LINKS https://linktr.ee/dissectthatfilm   FOLLOW THE HOST Twitter: https://twitter.com/parkerdissects Instagram: https://instagram.com/parkerdissects   FOLLOW THE CO-HOSTS https://twitter.com/dnagaming_1 https://twitter.com/roehm_21dw (Dan) https://twitter.com/aradella (Angela)   WATCH THEM ON TWITCH https://twitch.tv/dna_gaming1

Cooper and Nolan are tasting the water of life this week when they cover the original DUNE! This notorious Dino De Laurentiis production was plagued with studio interference, visual effects problems, and Kyle MacLachlan's terrible acting, all of which forced director David Lynch to have to cram a whole book series' worth of story into a two hour movie. The result was a confusing, plot heavy mess that for some reason features a VERY sweaty Sting. But is that bizarre piece of casting (along with the curiosity of watching a legendary bomb for the first time) enough to make this enjoyable for the guys? According to an ancient prophecy, this episode (featuring a beer from Dune Hopper Brewing Co.) contains the answer!

https://open.spotify.com/show/2BsfYRiIzhDgs6EBByeUuL?si=c7f306c63a1d467a Dune is a 1984 American epic space opera film written and directed by David Lynch and based on the 1965 Frank Herbert novel Dune. It was filmed at the Churubusco Studios in Mexico City. The soundtrack was composed by the rock band Toto, with a contribution from Brian Eno. Its large ensemble cast includes Kyle MacLachlan's film debut as young nobleman Paul Atreides, Patrick Stewart, Brad Dourif, Dean Stockwell, Virginia Madsen, José Ferrer, Sean Young, Sting, Linda Hunt, and Max von Sydow. The setting is the distant future, chronicling the conflict between rival noble families as they battle for control of the extremely harsh desert planet Arrakis, also known as Dune. The planet is the only source of the drug melange (spice), which allows prescience and is vital to space travel, making it the most essential and valuable commodity in the universe. Paul Atreides is the scion and heir of a powerful noble family, whose inheritance of control over Arrakis brings them into conflict with its former overlords, House Harkonnen. Paul is also possibly the Kwisatz Haderach, a messianic figure expected by the Bene Gesserit sisterhood. After the novel's initial success, attempts to adapt Dune as a film began in 1971. A lengthy process of development followed throughout the 1970s, during which Arthur P. Jacobs, Alejandro Jodorowsky, and Ridley Scott unsuccessfully tried to bring their visions to the screen. In 1981, executive producer Dino De Laurentiis hired Lynch as director. The film underperformed at the box office, grossing $30.9 million from a $40–42 million budget. At least four versions have been released worldwide. Lynch largely disowned the finished film and had his name removed or changed to pseudonyms. The film has developed a cult following,[4][5] but opinion varies between fans of the novel and fans of Lynch's films.[6] Wikipedia Prepare for a wild excursion into the heart of Belizean jungles and the ruins of Laminai as we recount an adventure that's part comedy, part thriller, and all real-life in this episode of Sounds Awesome Patreon.

Episode 462"Heat" | "The Last of the Mohicans" | "Manhunter" Cinematographer: Dante Spinotti.Dante Spinotti was born in Tolmezzo, Udine, in the northeastern Italian Region of Friuli. He began his career at RAI (Italian TV), before that he spent lot of time in Kenia as cinematographer for his uncle. In 1985, producer Dino De Laurentiis offered him a chance to work in USA for the first time with Michael Mann for the feature Manhunter (1986). From that experience, Spinotti became one of the most appreciated cinematographer in Hollywood. His particular vision gives a movie a great sense of reality. Among his works are: The Last of the Mohicans (1992) (Academy Nomination), Heat (1995), L.A. Confidential (1997) (Academy Nomination), The Insider (1999) (Academy Nomination), and Wonder Boys (2000). https://linktr.ee/mondaymorningcritic#heat #robertdeniro #alpacino #movie #thelastofthemohicans #cinematographer #redragon #michaelmann

While the MonsterVerse has brought Kong back to movie screens, never was the big ape been quite as... horny... as he was in 1976's "King Kong!" And who could blame him because, well, Jessica Lange in her film debut is, as Mike puts it, "a smokeshow." But was Mike able to find anything else to like in this Dino De Laurentiis-produced big-budget epic rife with bad, yet-somehow-Oscar-winning, special effects? Or is this episode just Jay cackling whilst drinking Mike's tears, shed at the feet of another of Mike's favorite actors - Jeff Bridges - as he makes a terrible cinematic decision. Either way, the guys follow the main review by recounting their lists of Bottom Five Dangerous Animals before playing a King-flavored game of Kick Two, Pick Two.

How much Dune is too much Dune? We're fixing to find out this March on Maximum Film! We're starting with the 1984 Lynch/Dino De Laurentiis space opera that was a theatrical flop, yet remains an enduring (cult?) classic. Then we'll pitch some outside-the-box auteur/book series pairings to fantasize about.What's GoodAlonso - Schmigadoon Season 2Drea - GORP-Core and scrogginGuy - Whenever I Call You Friend at a steakhouseIfy - performing at Leicester SquareITIDICDune 2 Makes a Huge DebutBootleg Willy Wonka Experience to become a literal horror movie AMC Theaters Launching “New” Nicole Kidman Pre-Show SpotsDune “Glossary” handed out in theaters in 1984Staff PicksAlonso - The Straight StoryDrea - Love Lies BleedingGuy - The Taste of ThingsIfy - Police Academy Follow us on BlueSky, Twitter, Facebook, or InstagramWithDrea ClarkAlonso DuraldeIfy NwadiweProduced by Marissa FlaxbartSr. Producer Laura Swisher

Luca was born in a little town in the north of Italy, Castelfranco Veneto, 30 minutes far from Venice. After high school, he moved to Milan to study communication at the University without an exact idea of what I wanted to become.  Luca became an assistant to a television director who was managing some live broadcast shows for SKY Italy and wanted some help. After the first tv gigs, Luca learned to operate the camera, consequently the mayor editing systems to finally be able to create my own contents.  In Milan Luca worked for a photo studio where he was filming behind the scenes of important film sets and  started to collaborate with a press agency as a documentarian. That was the company that sent him to L.A. where he settled since 2008. After a fortunate meeting with Dino De Laurentiis, he was sent to Cinecitta' for my first gigs in the actual film industry where he kept working still as a behind the scenes director on some of the major blockbusters of the following year and opened his own production company. Luca and his team have worked on three feature projects so far, entirely produced by his company, LSPG.

In this episode of Weirdhouse Cinema, Rob and Joe discuss Dino De Laurentiis's 1980 sci-fi comic book extravaganza “Flash Gordon,” directed by Mike Hodges and featuring the music of Queen. See omnystudio.com/listener for privacy information.

In this episode, I spoke with author Anthony Uzarowski about his book "Jessica Lange: An Adventurer's Heart". Brilliant, beautiful, driven, uncompromising, elusive, iconic―Jessica Lange is one of the most gifted and fascinating actors of her generation. From her rise to fame in Dino De Laurentiis's remake of King Kong (1976) and her Oscar-winning performances in Tootsie (1982) and Blue Sky (1994); to her Emmy-winning work in Grey Gardens (2009) and the American Horror Story series; and her Tony Award–winning turn in Eugene O'Neill's Long Day's Journey into Night (2016), Lange has had a long and illustrious career on-screen and onstage

This week we have a look at the 1977 film Orca. This is Episode #423! Orca (also known as Orca: The Killer Whale) is a 1977 American thriller film directed by Michael Anderson and produced by Dino De Laurentiis, starring Richard Harris, Charlotte Rampling and Will Sampson. The film follows a male orca tracking down and getting revenge on a fishing boat and its captain for killing the whale's pregnant mate and their unborn calf.Upon release, the film was a minor box office success, but received mostly unfavorable reception from critics and audiences alike due to its similarities to the film Jaws, released two years prior.

The author Jacob Bacharach returns for a show about Ridley Scott's latest, the 200 million dollar epic Napoleon, starring Joaquin Phoenix and Vanessa Kirby. History nerds, YouTube film cranks and the Roman statue bluechecks on Twitter are up in arms about the latest from the Riddler, for straying too far from the real history and most egregiously for hiring their beloved Joker to portray their beloved Emperor of France as a cucked loser. Jacob and I highly enjoyed it as old Hollywood spectacle and as a strange historical comedy about a horny weirdo, hilariously sold to the masses as a badass action film with Black Sabbath in the trailer.  We also compare this Napoleon to previous attempts to depict him in cinema, with special emphasis on 1970's Waterloo, a spectacular and extremely expensive recreation of that fateful battle starring Rod Steiger and Christopher Plummer as the Duke of Wellington, literally a co-production between Dino De Laurentiis and the Soviet Union!  It's fashionable in some circles to complain about Ridley Scott but we discuss some movies of his we like, our hopes for the extended version, and discuss some fun facts about the Napoleonic Era including his horny letters to Josephine and an explanation of the French Revolutionary Calendar. Plus: Napoelon Musk, finally facing his Waterloo after an assault on advertisers at a New York Times summit. Follow Jacob Bacharach on Twitter and visit jacobbacharach.com You can sign up to be notified of when orders can be placed for the third edition of Ursula Lawrence's French Republican Wall Calendar here. Over 30% of Junk Filter episodes are exclusive to patrons of the podcast. Some of our notable previous guests include Jared Yates Sexton, David Roth, Bryan Quinby, Sooz Kempner, and Will Sloan. More to come! Sign up at https://www.patreon.com/junkfilter Trailer for Waterloo (Sergei Bondarchuk, 1970) Trailer #2 for Napoleon (Ridley Scott, 2023) Napoleon meme, popular in France.

Ahoy there, ya eejits!  We're back to discuss everyone's favourite "Whale gets angry and goes on a violent rampage" blockbuster: ORCA.  Rob chose this.END CREDITS - Presented by Robert Johnson and Chris Webb - Produced by Chris Webb - "Still Any Good?" logo designed by Graham Wood & Robert Johnson - Crap poster mock-ups by Chris Webb - Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission  (c) 2023 Tiger Feet Productions  Find us: Twitter @stillanygoodpod Instagram stillanygoodpod Email stillanygood@gmail.comSupport the show

Moviebox-episoder tager som regel udgangspunkt i filmenes indhold. Værterne går på rov og finder en film, som de mener passer bedst ind under aftenens tema. Denne gang er det bare anderledes, for her handler det ikke om filmens indhold - det handler om filmens bagmand. Idéen har rumsteret længe, men nu gør vi det og hylder en enkelt person, ved at bygge en filmaften op kun bestående af film, som denne person har været med til at lave. Og af årsager, der i skrivende fortaber sig i vores svindende hukommelses tåger, er valget altså faldet på den farverige herre Dino De Laurentiis. En producer, hvis navn pryder nogle af VHS-historiens største klassikere: Army of Darkness, Leviathan, Maximum Overdrive, Blue Velvet, Manhunter, Raw Deal og mange flere. Han var ofte ikke krediteret i rulleteksterne og vi ved ærlig talt ikke hvorfor, men sikkert er det, at han var manden, der samlede krafterne bag Moviebox-hit efter Moviebox-hit. Således skal vi i aften til middag hos Dino, hvor han ene og alene serverer Dino-film, og vores tre værter skuffer naturligvis ikke. Ask lægger ud med en appetitvækkende forret i form af efterfølgeren til en af hans yndlingsfilm, 'King Kong Lives' fra 1986. Niels graver dybt i posen og finder aftenens hovedret i 'Danger Diabolik' fra 1968. Og så lukker Sonny festen med en kæmpe, campy dessert-klassiker - 'Flash Gordon' fra 1980.  Og lad os en sidste gang minde dig om, at vi d. 19. august 2023 afholder vores 4 års fødselsdag i Grand Teatret i København. Find billetter her: https://grandteatret.dk/film/moviebox-4-aars-foedselsdag/ Og HUSK: Spol altid episoden tilbage, når du har lyttet færdigt! Med venlig hilsen, Ask, Sonny, Niels & Casper

This week James and Matt look at the characters of Flash (Ah-ah) Gordon and (Be-de-bede) Buck Rogers once again in their Space Opera series...only this time it's THE EIGHTIES! Join them as they disect the Dino De Laurentiis produced, Flash Gordon (1980) and Glen Larson's, Buck Rogers in the 25th Century (1979).  Visit our website https://www.journeythroughscifi.com/ Email Us! Follow us on TWITTER Add us on INSTAGRAM Like us on FACEBOOK Follow us on LETTERBOXD Support the podcast on PATREON

Welcome back to your favorite podcast about some of cinema's biggest flops. On this week's episode, the guys are once again joined by Sammy from the GGTMC to discuss 1986's monster adventure film - King Kong Lives. Folks, this is one of the most insane films the podcast has discussed. King Kong Lives is a sequel to the 1976 King Kong, which was a remake of the 1933 original classic. In this sequel most people didn't know existed, we find our beloved monkey receiving a heart implant after being in a coma for 10 years. That's just in the first 15 minutes. Trust us, you can't even guess what happens next! It is truly a “seeing is believing” situation. Listen as the guys tackle monkey reproduction, “bargain basement” Jeff Daniels, the miliary's official “Primate Holding Division,” and mega-producer Dino De Laurentiis. Timestamp - Intro - (1:31), Box Office Results, and Critical Response - (19:03), Behind the Camera - (28:03), In Front of the Camera - (43:10), Production and Development - (56:00), Commerical Breal - (62:45), King Kong Lives Discussion - (64:52), Is it a Bomb? - (96:40), Listener Feedback - (101:00), Outro - (120:27)King Kong Lives is directed by John Guillermin and stars Brian Kerwin, Linda Hamilton, John Ashton, and Peter Michael Goetz. If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.If you want to hear more of Sammy, make sure you subscribe to the Gentlemen's Guide to Midnite Cinema and be sure to leave them a review. Cast: Brad, Troy, Sammy

Freeze, ya bloody bastards!  We are back, for our ‘not 100th episode'.  And to commemorate our glorious return, what better film to revisit than the saviour of the universe itself: FLASH (a-aaaaa!) GORDON. END CREDITS - Presented by Robert Johnson and Chris Webb - Produced by Chris Webb - "Still Any Good?" logo designed by Graham Wood & Robert Johnson - Crap poster mock-ups by Chris Webb - Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission  (c) 2023 Tiger Feet Productions  Find us: Twitter @stillanygoodpod Instagram stillanygoodpod Email stillanygood@gmail.comSupport the show

We strongly disagreed about the quality of Queen Kong, a British/German gender-swapped parody of King Kong. Legal action from Dino De Laurentiis prevented the film's release in Britain, but you can now watch it on YouTube. --- Send in a voice message: https://podcasters.spotify.com/pod/show/mmftg/message Support this podcast: https://podcasters.spotify.com/pod/show/mmftg/support

"Flash, Flash, I love you, but we only have fourteen hours to save the Earth!" We invited over Trek Culture's Seán Ferrick back on the podcast to watch the camp extraveganza Flash Gordon (1980). Like the renegade cousin strung out on psychedelics to George Lucas's more successful Star Wars Flash, Gordon is one of our favorite cult classics to come out of the early 1980s. Nobody knew how to put on a show like Italian movie mogul Dino De Laurentiis, and Flash Gordon has it all. Playgirl coverboy Sam J. Jones as our sincere beefcake protagonist, the wooden tour de force performance of Melody Anderson as Dale, Max von Sydow chewing the scenery as Emperor Ming the Merciless (culturally insenstive is an understatement here).  All political correctness aside, Flash Gordon is still a good time. We talk about Timothy Dalton doing the most with the least amount of character of the bunch, Brian Blessed playing his performance to the back row with his army of  harness clad Winged Hawk-Men. Not to mention the rocking score by Queen. This movie went onto be a huge inspiration to Seth McFarland, Taika Waititi, and Edgar Wright for it's insanly fun imagry. FLASH Ah-ah He'll Save Every One of Us!  Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay (http://www.patreon.com/moviesthatmadeusgay) Facebook/Instagram: @moviesthatmadeusgay Twitter: @MTMUGPod Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna

We have only ourselves to blame for this one. Well, actually, it's pretty much all Big D's fault: Shat The Movies finally found the courage (and the commissioner) to tackle the 1980 space opera "Flash Gordon." Whether you thought this horny Dino De Laurentiis fantasy was a terrific comic book adaptation or just a crappy "Star Wars" ripoff, it's certainly a film that's instantly recognizable through sight or sound. That Queen anthem, those wild colors and costumes: This is a movie best enjoyed on hallucinogens ... pantless. Gene found a new personal hero in Topol, the Hebrew Harrison Ford. Dick appreciated the female empowerment. And Ash asked, "How many times can Flash Gordon die?" In this episode, the Shat Crew also covered Max von Sydow in yellow face, faulty rocket designs, Chekov's pitot-static tube, psychological scarring from the "Wood Beast" and the tragic tale of a trilogy that died in the cradle. SUBSCRIBE Android: https://shatpod.com/android Apple: https://shatpod.com/apple All: https://shatpod.com/subscribe CONTACT Email: hosts@shatpod.com Website: https://shatpod.com/movies Leave a Voicemail: Web: https://shatpod.com/voicemail Leave a Voicemail: Call: (914) 719-7428 SUPPORT THE PODCAST Donate or Commission: https://shatpod.com/support Shop Merchandise: https://shatpod.com/shop Theme Song - Die Hard by Guyz Nite: https://www.facebook.com/guyznite

After the success of DARKMAN, both Universal Pictures and Dino De Laurentiis — who'd produced EVIL DEAD 2 — were willing to move forward on a new entry into the EVIL DEAD franchise. The third EVIL DEAD film, which would eventually be titled ARMY OF DARKNESS, moved the franchise even further from its gritty exploitation horror roots and into the world of Harryhausen-inspired fantasy adventure, but with Raimi and Campbell's signature humor intact. In this episode, we'll discuss the creation of ARMY OF DARKNESS, including all of the ups and downs of its production, delayed release, and eventual ascension to cult classic status. GoFundMe for Alyssa Fowler: https://gofund.me/60e5d127 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

On this episode, Rick has a great conversation with writer/director Tom McLoughlin. We discuss his work on Friday the 13th: Jason Lives. Sometimes They Come Back, They Came From Outer Space & She Wolf Of London. We also talk about Universal Monsters, nude scenes, respecting your cast, Dino De Laurentiis, music, attending Camp Blood at the Mahoning Drive In, interacting with fans, the latest update of the Friday the 13th franchise & more! Please subscribe, review & give us that 5 star boop!

In this episode we talk about the boundary pushing neo noir crime thriller Bound. Bound is a 1996 American neo-noir crime thriller film written and directed by the Wachowskis[a] in their feature film directorial debut. Violet (Jennifer Tilly), who longs to escape her relationship with her mafioso boyfriend Caesar (Joe Pantoliano), enters into a clandestine affair with alluring ex-con Corky (Gina Gershon), and the two women hatch a scheme to steal $2 million of Mafia money. Bound was the first film directed by the Wachowskis, and they took inspiration from Billy Wilder to tell a noir story filled with sex and violence. Financed by Dino De Laurentiis, the film was made on a tight budget with the help of frugal crew members including cinematographer Bill Pope. The directors initially struggled to cast the lesbian characters of Violet and Corky before securing Tilly and Gershon. To choreograph the sex scenes, the directors employed sex educator Susie Bright, who also made a cameo appearance in the film. Directed by The Wachowskis Written by The Wachowskis Produced by Stuart Boros Andrew Lazar Starring Jennifer Tilly Gina Gershon Joe Pantoliano John Ryan Cinematography Bill Pope Edited by Zach Staenberg Music by Don Davis --- Send in a voice message: https://anchor.fm/speakeasy-noircast/message Support this podcast: https://anchor.fm/speakeasy-noircast/support

After the failure of CRIMEWAVE, Sam Raimi knew he needed a hit. His future as a professional filmmaker was in jeopardy. So, at the advice of his mentor and publicist Irvin Sharpiro, he went back to the well to create a sequel to his breakthrough film, THE EVIL DEAD. But Sam Raimi being Sam Raimi, he wasn't content do just create a cash grab sequel. Instead, he used the bigger canvas — and bigger budget, thanks to producer Dino De Laurentiis — to create a film that was closer to his sensibilities than the first one. EVIL DEAD 2 is the distillation of all of Raimi's influences, equal parts Three Stooges and Hershel Gordon Lewis, and it remains one of his most popular films. In this episode, we'll track the creation of the film from its earliest concept as a time travel picture, all the way through its eventual release and ongoing legacy. GoFundMe for Alyssa Fowler: https://gofund.me/60e5d127 Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. Episode archives & more: www.cinemashock.net

I'm at a dinner party in this cool, old house that belongs to one of my stepmom Sandy's best friends. This castle-style home stands three stories tall and has winding staircases inside and trees surrounding it. And I'm a fourth-grader surrounded by adults at this get-together. So despite this cool house, I eventually get bored. I'm still sitting in my chair trying to behave, though. Just as we're about to start on dessert, Denise (who lives there) notices my boredom. She takes a leftover dinner roll and chucks it out the window! We're so high up that we never even hear it hit the ground. I look at her in shock as she takes another roll and throws that out the window, too! I ask, “Denise, why do you do that?”  She responds, “Oh, to feed the dragons, of course.” Dragons?!  “You have pet dragons?” I ask. “Yeah, three of them. And they love dinner rolls.” Right then and there, I decided that Denise is one of the world's coolest people and that I too want to have pet dragons. This story has stuck with me ever since I was that 9-year-old because of the possibility. What if there were actually dragons or other magical creatures living among us? That's the premise of the Sam London Adventure books series written by my special guest today, Todd Gallicano. In this episode, he and I talk about how you have your own hero's journey, effective ways to open and close your story, plot twist predictability, and overcoming writer's block. You'll also get answers to questions like: How can you use truth as a springboard for a fictional story? In what way are you on your own hero's journey right now? Should you leave a story open-ended or resolve it for your audience? And what's really responsible for writer's block anyway? What you will learn in this episode: Why the inner journey is so important in storytelling Why the precipitating or inciting incident is an essential element to open a story Why writing yourself into a corner might be the best thing to do for your story Who is Todd? Todd Gallicano is a book author, Hollywood screenwriter, and international speaker who graduated from New York University's School of Film and Television. He began his film career with Italian-born producer Dino De Laurentiis. Since then, he's sold screenplays to SKG, Netflix, and Dreamworks and had scripts developed with Warner Brothers, 20th Century Fox, and other major production companies. In 2023, Heather Graham, Brandy Norwood, Jason Biggs, and Matt Cedeño will star in the film Best. Christmas. Ever. based on his screenplay. Lovers of the Harry Potter books or Rick Riordan's fictional works based on ancient Greek, Roman, and Norse mythology will appreciate Todd's Sam London series. His series has already garnered a reputation for encouraging readers to learn more about mythology and folklore, as well as visit and support national parks worldwide. Todd was a recent panelist at the International Congress of Arabic Publishing and Creative Industries and has spoken at the Abu Dhabi International Book Fair. His talks have touched on adapting books into films, games, and audio, and he's introduced thousands of students to the universal storytelling components within ancient myth and modern fantasy. You may have also seen Todd's appearances on TV or his articles in major publications. Currently, he hosts the podcast The Creature Files where he invites expert guests and eyewitnesses to talk about creatures from mythology and folklore. Links and Resources: Mythical Wildlife The Creature Files @mythicalwildlife on Facebook @mythicalwildlife on Youtube Storytelling School Website @storytellingschool on Instagram @storytellingSchool on Facebook

Meep and his pal Film Critic Andrew Parker (The Gate.CA) discuss some of their favorite Films produced by the legendary Dino De Laurentiis. Dino had a long and spectacularly varied career in both Europe and America, including his own Film Studio in Wilmington, North Carolina: De Laurentiis Group (DEG). Are you ready for 4+ hours […]

Let's be honest - the study of strategy can, at times, be a tedious thing. For those of us who haven't dedicated their lives and/or careers to understanding the detailed workings, intricate interplay and parlance of the strategic realm it can be a downright drag. But what if you could comprehend it all via an amazing space opera? What if the Empire, the Rebellion, the Romulans, the Klingons, the Federation, the Spice Trade and the Apes of a futuristic Earth all had something to teach you about strategy? What if the Federation could make conversations about discrimination and diversity much easier to discuss in a learning situation? Jon Klug and Steve Leonard so firmly believed that science fiction offers both a mirror and a possible guidebook for students of strategy and leadership that they gathered up a bunch of friends and colleagues and they put a book together on the topic. Jon and Steve join podcast editor Ron Granieri to discuss To Boldly Go: Leadership, Strategy, and Conflict in the 21st Century and Beyond. The three of them examine the genesis of the project, what they've learned along the way and they set out to answer the age old questions Kirk or Picard? Khan or Q? Buck or Flash? The Empire or The First Order? FACT CHECK - Jon Klug mentions that Dino De Laurentiis owned the rights to Star Wars. What Jon was trying to convey was that De Laurentiis owned the rights to Flash Gordon, and he refused to sell them to George Lucas who had hopes to create a new Flash Gordon movie. Instead Lucas was forced to create a little project he eventually called Star Wars.

linktr.ee/CatchingUpOnCinema This week, Catching Up On Cinema is joined by Kyle's brother Nik to review John Milius', Conan the Barbarian (1982)! Based on the popular pulp fiction character created by author Robert E. Howard, the film is a violent, mythic tale of swords and sorcery. Hot on the heels of his star making turn in the documentary, Pumping Iron (1977), the film serves as one of Arnold Schwarzenegger's earliest starring roles. Financially back by powerhouse producers Dino De Laurentiis and Edward R. Pressman, written by Oliver Stone, and directed by Hollywood wild man, John Milius, the film is a massive and thoughtfully conceived experience, confident in it's intent and tone. Brandishing production design by Alien (1979) designer Ron Cobb, and a magnificent, operatic score composed by Basil Poledouris, the film dazzles the eyes and ears during it's numerous, wordless interludes. Packed with talent on the screen and behind the scenes, the film is a near timeless adventure epic that has was massively successful at it's time of release, and has since gone on to be remembered as one of Schwarzenegger's better films. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema Like, share, subscribe, and we'll catch you next time!

Bogdanovich has claimed that the early months of 1980 were the happiest time of his life. He was in emphatic, unequivocal love with Playboy model Dorothy Stratten, and she was equally in love with him. Their blissful romance led to Bogdanovich dreaming up his next film, They All Laughed. Weaving together his affections for Stratten, the ongoing dissolution of her current marriage, and the recent affair shared by stars Ben Gazzara and Audrey Hepburn on their previous film together, Bogdanovich penned the most sincere expression of love he could, and set it against the swooning backdrop of New York City in the spring. Watching the film, it's evident the director was floating on cloud nine during its production, which only makes the dark aftermath of its construction all the more tragic. On August 13th, 1980, Dorothy Stratten was murdered by her estranged husband during a meeting about their divorce at his rented home in Los Angelos, before then taking his own life with the same gun shortly therafter. Upon hearing the news, Bogdanovich's life instantly fell apart, with many years of distraught grief and exceedingly poor life choices to follow. Just as his life and career were reaching a concurrent high, everything came crashing down. No studio was willing to touch They All Laughed in the wake of Stratten's death, and so Bogdanovich dug himself into debt buying the rights to the film and attempted to distribute it himself. Unsurprisingly, this did not go well. The film desperately floundered at the box office and Bogdanovich was forced to declare bankruptcy. The failure of They All Laughed, alongside a number of other auteur-driven flops at the same time, proved to be the final nail in the coffin of the New Hollywood renaissance of director-driven studio productions. Fortunately, the film has regained some traction thanks to a new generation of Hollywood auteurs, with the likes of Quinten Tarantino and Wes Anderson championing it as a masterwork in recent decades. Another hiatus followed suit, but by 1985 Bogdanovich was back at it, both because he needed to pick up the pieces and because he needed the money. When they were together, Dorothy expressed particular interest in the story of Joseph Merrick, the Elephant Man. Bogdanovich pieced together her identification with him as an object of public attention, subjugated for their extreme looks – one radiant, the other malformed. This is what inspired Bogdanovich to make Mask, a biographical story of the similarly-stricken Rocky Dennis, and his struggle to live a normal life with a debilitating facial deformity. Mask was one of Bogdanovich's most successful films to date, being a big hit with both audiences and critics, as well as snagging some much-deserved awards for leading actress Cher at Cannes, as well an Academy Award for the incredible makeup effects used to believably transform Eric Stoltz into the afflicted young boy. Still strapped for cash (seriously, do not try to self-distribute your own movies), Bogdanovich was still operating as a director for hire. He found himself under the auspices of the rather notorious Dino De Laurentiis, whom Bogdanovich would later blame for the unmitigated failure of Illegally Yours. With a title tipping its name to a Preston Sturges classic, Bogdanovich was set to make a contemporary screwball comedy for the ‘80s in the same way he did in 1973 with What's Up, Doc? The commercial appeal of leading man Rob Lowe seemed to assure a hit, but a forced rewrite of the script and a hacked-up editing job seems to have ruined the picture's chances for success, and caused Bogdanovich enough grief to proclaim it as the worst film he ever made. In 1987 author Larry McMurty penned a follow-up novel to the beloved The Last Picture Show. Bogdanovich was then naturally in talks to direct the film adaptation of the story set some thirty years after the captivating narrative he first brought to theaters sixteen years earlier. Texasville reunited most of the original cast, including Jeff Bridges and Cybill Shepherd, who began as mere aspirants in Picture Show but were now bonafide stars. The story swaps its deconstruction of youthful angst for the mature interests of middle-aged malaise, investigating how the reverberations of the past reflect upon and impact the present. But without the same haunting cinematography and sense of place, not to mention the confidence of the studio behind him, Bogdanovich's film faltered yet again at the box office. It was a sad reminder of how the young protégé of Orson Welles, whose second feature was once heralded alongside the mighty Citizen Kane, had, much like the great director himself, fallen from the public's graces. No longer did his name command the same capital as once before, having only further ruined his reputation by constantly fighting with the studios in a vain attempt to regain his creative integrity.

Bigelow's directorial career is often recognized for its unique consideration of traditionally masculine subject matters from a more nuanced and deconstructive perspective. While her works aren't traditionally seen as overtly feminine then in their juxtaposition to masculine subjects, there's no denying that Bigelow brings some greatly appreciated inquiry into her mainstay genres of action and war films. She has, however, had additional success dabbling in genres of Horror and Science-Fiction as well, proving more than capable of flexing an aesthetically fantastical eye that categorizes her directorial bend. She began her career in 1981, with the release of her co-directorial debut, The Loveless. Transitioning from painting to the medium of film, Bigelow set out to make a low-budget biker project, which she later identified as having “one foot in the art world and one foot in independent underground films.” Bigelow's fixation on the lawless and the fringes of society carried over into her next feature, Near Dark in 1987, a vampire-Western hybrid which demonstrated great success for her directorial abilities in both aesthetics and action, but which failed at the box office thanks to the collapse of producer Dino De Laurentiis' production company. Bigelow would find financial success in her next feature, Blue Steel (1990), which springboarded her into the mainstream of action filmmaking and paved the way for her breakthrough success the following year.  As always, keep an eye on us here at thetwingeeks.com for the latest reviews and retrospectives on all things classic and contemporary cinema. You can keep up with us on twitter as well by following @TheTwinGeeks or by joining our Discord Community for more direct interaction. We look forward to hearing from you while we gear up for our next big splash into the celluloid sea.

Flash Gordon, the character, was created back in the 1930's specifically as a space opera.  Space opera is the old science fiction that takes place in outer space but doesn't necessarily follow the knowledge behind the science.  George Lucas brought it all back in the 1970's with STAR WARS (1977).  With it being a huge subgenre once more, in 1980 the film FLASH GORDON as the next big budget film to set off a franchise. New York Jets quarterback Flash Gordon (Sam J. Jones), during space Emperor Ming's (Max von Sydow) invasion of Earth, flies a space rocket with travel agent Dale Arden (Melody Anderson) and scientist Hans Zarkov (Topol) to Ming's palace where they are captured.  With the help of Princess Aura (Ornella Muti) and others, Flash escapes and tries to start an intergalactic rebellion to free all those oppressed by Ming. Produced by Dino De Laurentiis, directed by Mike Hodges, and written by Lorenzo Semple, Jr., based off Alex Raymond's iconic character, the movie gained much press as the band Queen joined as the main composer along with Howard Blake.  Released world wide, the film's retro look and strange story gained it mediocre reviews.  Yet years later fans found the film and gave it the rightful cult following that it has.  Your co-hosts discuss this wonderful film.

Episode 7. From discovering a love of film through photography while living in Australia and New Zealand to directing two number one US box office hits. Donaldson got a big break with legendary producer Dino De Laurentiis, taking over the directing duties on the classic movie The Bounty. He then went on to become an A-List director, making movies such as Cocktail with Tom Cruise, The Recruit with Al Pacino and Colin Farrell, Thirteen Days and No Way Out with Kevin Costner.