Podcasts about dohlen

Der Ornithologe Johannes Hohenegger spricht im dritten Teil der Serie mit Lothar Bodingbauer über Raben, Krähen und Dohlen. Gestaltung: Lothar Bodingbauer- eine Eigenproduktion des ORF, gesendet in Ö1 am 7.5.2025

Die Bundestagswahl ist vorbei und Deutschland ist schwarz-blau. Aber wäre es das auch, wenn Teenager wählen dürften? Unser Gast Vincent (14) hat sich dazu einmal ein paar Ergebnisse der Juniorwahlen - einer Art Übungsbundestagswahl an Schulen, deren Ergebnisse statistisch erfasst werden - angesehen und verglichen. Vincent erzählt Antje und Vivien auch, welche Partei ihn am meisten anspricht und was sein Interesse an dieser geweckt hat.Zuvor plänkeln Antje und Vivien noch über ruinierte Hundefrisuren, leere Dohlenkästen und frustrierende Bundestagswahlergebnisse. Antje fühlt sich außerdem von der Brieselanger Gesamtschule im Schlaf verfolgt. Kulturelle Empfehlungen:Die Netflix-Serie "Arcane"Unsere  Havel_Mische Musik-Playlist auf Spotify: https://open.spotify.com/playlist/4YZlOMg8LOIjBYcmeyL0aI?si=VdCGY1dUR86edYt2pA_cpQ&pi=-f3zTlROQFS-b&nd=1&dlsi=c2e832b4bc314e6dCorrectiv in Rathenow (Reservierung erforderlich): https://correctiv.org/events/Comic "Diese Nacht wird keine kurze sein": https://letatl.in/products/diese-nacht-wird-keine-kurze-seinStudio Kindler über Nichtwähler: https://open.spotify.com/episode/6pt9Hi92XIju0aQzwE5NSv?si=4hP4hF1BQNS4fLmiqtCAyAPiratensender Powerplay, das True-Crime-Heizhammer-Special: https://open.spotify.com/episode/37wspCPcz2H1BkBSDb3YkG?si=SRvRQvi7QNi6aW_LzA4f2wDie Sinalkol-Tischlerei in Nauen fertigt auf Anfrage Nistkästen für Turmvögel: https://www.sinalkol.de/angebote/tischlereiDer Mann, der uns ein Fanpaket geschenkt hat: https://nicolai-winterhoff-art.comSchreibt uns eure Ideen und Fragen!Support the showModeration: Antje Koch und Vivien TharunCover Art: Jens N. WinterhoffMusik: David BorensThemenvorschläge? Mailt sie uns gerne: vivien@wortgeschacher.comSocial Media: instagram.com/havel_mischeViviens Homepage: wortgeschacher.comIhr könnt unseren Podcast entweder mit einem Abo ab 3€ monatlich oder mit Einmalzahlungen für Sonderfolgen (je 3€) auf Patreon.com unterstützen.Im Gegenzug erhaltet ihr alle Folgen etwas früher und - je nach Abo - auch zusätzliche Inhalte. patreon.com/Havel_Mische

Die Maus zum Hören - Lach- und Sachgeschichten. Heute: mit Geschichten vom Barfußlaufen, Dohlen und ihrem Tanz, Zecken und ihrer Größe, mit Nina und natürlich mit der Maus und dem Elefanten. Erzähl mal (01:06) Frage des Tages: Wie groß können Zecken werden? (07:26) Bilderbuch: Prinzessin Leonie und der linkshändige König (14:03) Wortschatzkiste: Barfuß (25:15) Barfuß im Watt (34:44) Mausfreundebuch: Lennis (42:12) Können Dohlen tanzen? (50:20) Von Nina Heuser.

Wir hatten ein wunderbares Wochenende. Aber hauptsächlich, weil hier ringsum alles dick verschneit ist. Es ist wunderbar weiß und damit hell und strahlend und es sieht so zauberhaft aus. Die Stadt ist viel stiller als sonst, weil viel weniger Autos fahren. Sauerländer sind den Winter gewohnt, aber sie müssen nicht mit dem Auto fahren, wenn es anders geht.Also habe auch ich manchmal einfach nur am Schreibtisch oder im Wohnzimmer gesessen und nach draußen gestaunt. Vor dem Fenster die Bäume haben tatsächlich auf jedem noch so kleinen Ästchen und Zweiglein Schnee liegen, der wegen der Kälte auch festgefroren ist. An den Futterstationen, die wir im Garten für die Vögel platziert haben, balgen sich die Meisen und Amseln und Drosseln um die fettesten Körner. Ab und zu kommt ein Schwarm dicker Dohlen und vertreibt die kleinen Vögel und wenn die Großen wieder weg sind, kommen die Kleinen wieder. Wann nimmt man sich eigentlich mal die Zeit, außer vielleicht im Urlaub, einfach nur da zu sein, zu schauen und zu staunen. Und dabei tut das so gut. Es entschleunigt und lässt aufatmen.In vielen biblischen Texten kommt tatsächlich der Schnee vor. Am besten gefällt mir der Vers 8 aus dem Psalm 148. Der ganze Psalm ist ein großer Lobpreis auf den Schöpfer, den Herrn des Kosmos. Und in diesem Vers 8 heißt es: "Feuer und Hagel, Schnee und Nebel, Du Sturmwind der sein Wort vollzieht" - Der Beter des Psalms ist sich also sicher, dass in allem, was ihm im Kosmos, in den Naturgewalten und in den Jahreszeiten begegnet, Gottes Wort vollzogen und deutlich wird.In Gottes Schöpfung wird uns seine Größe und Herrlichkeit wunderbar offenbart und lockt uns heraus zum Staunen und Loben und Danken. Und falls bei Ihnen statt wunderbar weißem Schnee nur Regen, Kälte und Nässe herrschen, finden Sie vielleicht in einer Pfütze das Spiegelbild des Himmels und locken ihren Blick nach oben, zum Schöpfer allen Seins mit Dank und Lob.

This week we fight the bad guys and defend our home! We watched Home Alone 3, the first one that isn't a classic.  How will Home Alone 3 hold up? Host: Nic Panel: Keiko and Candace  Directed by Raja Gosnell Writen by John Hughes Starring Alex D. Linz, Olek Krupa, Rya Kihlstedt, Lenny von Dohlen

This week we fight the bad guys and defend our home! We watched Home Alone 3, the first one that isn't a classic.  How will Home Alone 3 hold up? Host: Nic Panel: Keiko and Candace  Directed by Raja Gosnell Writen by John Hughes Starring Alex D. Linz, Olek Krupa, Rya Kihlstedt, Lenny von Dohlen

Die Themen in den Wissensnachrichten: +++ Ausgrenzung beeinflusst Naturschutz in US-Wohnvierteln +++ Musik wird überall gleich verstanden - bis auf Liebeslieder +++ Für Dohlen geht die Familie vor +++**********Weiterführende Quellen zu dieser Folge:Historical redlining is associated with increasing geographical disparities in bird biodiversity sampling in the United States/ Nature Human Behaviour, 07.09.2023Universal interpretations of vocal music/ PNAS, 07.09.2023Wild jackdaws can selectively adjust their social associations while preserving valuable long-term relationships/ Nature Communications, 11.09.2023Role of sesquiterpenes in biogenic new particle formation/ Science Advances, 08.09.2023Physically intelligent autonomous soft robotic maze escaper/ Science Advances, 08.09.2023Reichweitenstärkstes Elektroauto der Welt kommt aus München/ TUM, 09.09.2023**********Ihr könnt uns auch auf diesen Kanälen folgen: Tiktok und Instagram.

Die asiatische Tigermücke ist eine hübsche kleine Stechmücke, die aus Asien u.a. in alten Pneus nach Europa gelangt ist. Diese sogenannte Neozoe ist kein willkommener Neuling. Sie ist eine äusserst wirkungsvolle Überträgerin von Krankheitserregern, indem sie von Mensch zu Mensch fliegt und Blut saugt. Sie liebt es, sich in Städten zu bewegen, denn als ehemalige Höhlenbrüterin mag sie kleine Wasserstellen, wie sie beispielsweise in Freizeitgärten, privaten Gärten oder Balkonen vorhanden sind. Zum Beispiel in Untersetzern, Dohlen, oder Wassertonnen. - Das Schweizerische Tropen- und Public Health Institut Swiss TPH und die Kantone beobachten die Situation genau und haben den Kampf aufgenommen, um die sich schnell ausbreitende Tigermücke zumindest in Schach zu halten. Es ist wichtig, dass dabei möglichst viele Stadtbewohner*innen mithelfen. In dieser Episode erzählt uns der wisschenschaftliche Mitarbeiter des TPH, Martin Gschwind, was diese Mücke von andern unterscheidet, wie man präventiv tätig werden kann und dass es, wie stets wenn etwas Neues auftraucht, auch Kontroversen darum gibt. Ich hoffe, Sie haben etwas Zeit, diesen unwillkommenen Neuling kennenzulernen.

Television studio executive Gil Hurn (David Margulies) is approached by Mr. Smith (Lenny von Dohlen), a mysterious investor who asks him to complete the final episodes of Max Paradise, a short-run detective series from 1965 that was cancelled before said episodes were aired. Mr. Smith and his mysterious backers are willing to pay any price, specifically gold bars, to see the series finished, complete with bringing the original actor, Van Conway (Darren McGavin), out of retirement. Unknown to the others, Mr. Smith is an alien from a planet that has received TV signals from Earth 20 years after they originally aired, and Max Paradise has become immensely popular on their planet. Directed by Bill Travis with a Story by Andrew Weiner, adapted by Ted Gershuny. Original Air Date: November 17, 1985 Support the show and listen ad free for just $2 a month, including other extras!

Saatkrähen und Dohlen finden in der Stadt Brutplätze, Nahrung und staatlichen Schutz. Aber: Krähen sind laut und in ihren Brutrevieren fällt viel natürlicher Dreck an. Dazu sind sie auch als Nesträuber verrufen. Reporter Sven Ahnert hat sich auf eine Saatkrähen- und Dohlen-Fahrradtour durch Hamburg gemacht und herausgefunden, dass Saatkrähen durchaus nützliche Nachbarn sind, denn als Aasfresser sind sie so etwas wie die fliegende Müllabfuhr. Im Gespräch mit Caren Busche erzählt er auch, dass Dohlen besonderen Schutz genießen. Sie brüten nicht nur in Kirchtürmen, sondern auch in eigens angebrachten Nistkästen. Und hier noch zwei paar interessante Links zum Thema: Der NABU zum Thema Artenschutz bei Rabenvögeln: https://www.nabu.de/tiere-und-pflanzen/voegel/artenschutz/rabenvoegel/00520.html Wissenswertes aus der Forschung: DAS! mit Rabenforscher Thomas Bugnyar: https://www.ndr.de/fernsehen/sendungen/das/DAS-mit-Rabenforscher-Thomas-Bugnyar,dasx31348.html Habt Ihr/haben Sie Themen für uns? Fragen? Anregungen? Wir freuen uns über Mail an: Moin@ndr.de

Simon und Kalle reden (mal wieder) über Frühling, Neuankömmlinge und Greifvogelzug. Wie viele Tage später kommen die Mönchsgrasmücken in Ostfriesland an und wo kann man eigentlich am besten Vögel beobachten beobachten? Außerdem hat Simon zwei Dohlen-Geschichten für euch dabei.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Wir hatten ein wunderbares Wochenende. Aber tatsächlich nur, weil hier ringsum alles dick verschneit ist. Es ist wunderbar weiß und damit hell und es sieht so zauberhaft aus. Die Stadt ist viel stiller als sonst, weil viel weniger Autos fahren. Sauerländer sind den Winter gewohnt, aber sie müssen nicht fahren, wenn es anders geht. Also habe auch ich manchmal einfach nur am Schreibtisch oder im Wohnzimmer gesessen und nach draußen gestaunt. Vorm Fenster die Bäume haben tatsächlich auf jedem noch so kleinen Ästchen und Zweiglein Schnee liegen der wegen der Kälte auch festgefroren ist. An den Futterstationen, die wir im Garten für die Vögel platziert haben, balgen sich die Meisen und Amseln und Drosseln um die fettesten Körner. Ab und zu kommt ein Schwarm dicker Dohlen und vertreibt die kleinen Vögel und wenn die wieder weg sind, kommen die Kleinen wieder. Wann nimmt man sich eigentlich mal die Zeit, außer vielleicht im Urlaub, einfach nur da zu sein, zu schauen und zu staunen? Und dabei tut das so gut. In vielen biblischen Texten kommt tatsächlich der Schnee vor. Am besten gefällt mir der Vers 8 aus dem Psalm 148. Der ganze Psalm ist ein großer Lobpreis auf den Schöpfer, den Herrn des Kosmos. Und in diesem Vers 8 heißt es: "Feuer und Hagel, Schnee und Nebel, Du Sturmwind der sein Wort vollzieht" Der Beter des Psalms ist sich also sicher, dass in allem, was ihm im Kosmos, in den Naturgewalten und in den Jahreszeiten begegnet, Gottes Wort vollzogen und deutlich wird. In Gottes Schöpfung wird uns seine Größe und Herrlichkeit wunderbar offenbart und lockt uns heraus zum Staunen und Loben und Danken. Und falls bei Ihnen statt wunderbar weißem Schnee nur Regen, Kälte und Nässe herrschen, finden Sie vielleicht in einer Pfütze das Spiegelbild des Himmels und locken ihren Blick nach oben, zum Schöpfer allen Seins mit Dank und Lob.

Session episode! Today, we meet Katie von Dohlen, a beautiful healer and channel who graduated from my Multi-Dimensional Mentorship program. She asks the question, “what are my responsibilities as a healer?” In this episode, you will hear all about: -Katie's life-altering growth since discovering her unique, intuitive gifts after graduating from the mentorship program; -the way to ground your new (or old!) gifts into your daily life without stress; -the impact of past lives through the Akashic records in our intuitive abilities; -our take on the responsibilities of being a healer in today's world; -I share my top tips to protect your energy and personal life as a healer; -boundary setting with clients; -why it is NEVER your responsibility to diagnose an illness; -and so much more! SHOW NOTES Apply to Adalina's Mentorship Program Book a session with Adalina Harness your Spiritual Gifts-free 7-day course Adalina on YouTube

Questa settimana l'Amaca si fa un po' Taffo e con dispiacere rendo il giusto tributo a tre attori che ci hanno lasciato: James Caan, Lenny von Dohlen e Tony Sirico. Venendo invece a noi, alla croccantezza della puntata, la notizia del live action di Death Note a opera dei Duffer Brothers ha generato in voi delle curiosità e mi sembra il caso di parlarne. E di chiacchiera in chiacchiera mi avete chiesto, quasi in perfetta sincronia, quali sono i film che rimarranno per le nuove generazioni e come si fa a rimanere in questo presente così veloce e frenetico. Venendo alle recensioni abbiamo un sacco di ciccia. Chiudo Stranger Things parlando della Parte II della quarta stagione per poi spostarmi su Disney Plus e recensire un film Hulu che ribalta la prospettiva sulla principessa nella torre, con un The Raid al contrario. Infine, una ricca chiacchiera sul tanto atteso Thor: Love and Thunder!Buon ascolto!Support the show

Today on the podcast – Katy Perry! The Rock! Ryan Reynolds! Gal Gadot! John Mayer! Alyssa Milano! ... All had their caricature drawn by this guy… Caricature artist to the stars – Greg Dohlen. AKA – the King of Sting! That's a nickname he was given on the comedy central show Nathan For You. We talk about his humble beginnings, from drawing his crush in high school, to touring a children's hospital with Alyssa Milano drawing the kids to cheer them up and chatting about caricatures with John Mayer. He also did a deep dive into 3D drawing (which I cut most of it out – you're welcome) designed a float in this year's Rose Parade! He also pulled out all the stops to propose to his wife!

weitere Themen: 20.000 Euro Schaden nach Diesel-Diebstahl und Unfallflucht in Dietzhölztal. Nistkästen an Strommasten sollen Dohlen und Sperlingen helfen.

Astronaut Matthias Maurer nach ISS-Rückkehr - "Mond wäre Sahnehäubchen" / Erdbeobachtungssatelliten - Was man aus dem All auf und unter der Erde sieht / Plötzlicher Kindstod - Wenn das Kind im Schlaf aufhört, zu atmen / Demokratische Dohlen - Wie Vögel über Schwarm-Start entscheiden / Pockenimpfstoff - Wie er gegen die Affenpocken helfen kann

Dieses Mal sind Julia Nestlen und Sina Kürtz für euch am Start. Ihre Themen sind: - Wissenschaftler haben untersucht, ob wir mit einem sechsten Finger umgehen könnten. Wofür der wohl gut wäre … ? (00:30) - Boarding completed? Dohlen stimmen im Schwarm demokratisch ab, wann sie losfliegen. Wie fällen andere Tiere ihre Entscheidungen? (09:07) - Happy Heart Syndrome: Auch positive Erlebnisse können zu Herzproblemen führen. Also besser einfach gar nichts fühlen? (16:39) - Astronauten immer gut, Nonnen eher schlecht? Eine Studie hat das Image verschiedener Berufe in Filmen untersucht (23:42) Weitere Infos und Studien gibt's hier: https://www.nature.com/articles/s41598-022-06040-x https://www.cell.com/current-biology/fulltext/S0960-9822(22)00601-7 https://www.sciencedaily.com/releases/2022/05/220523115520.htm https://www.derstandard.de/story/2000135877925/happy-heart-syndrom-wenn-positive-erlebnisse-herzprobleme-ausloesen https://www.jacc.org/doi/10.1016/j.jchf.2022.02.015 https://www.eurekalert.org/news-releases/952366 https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0267812#sec017 Zur Studie aus Avengers: https://www.ardaudiothek.de/episode/fakt-ab-eine-woche-wissenschaft/loewenzahn-ist-eine-goldgrube/swr2/95052004/ Habt ihr auch Nerd-Facts und schlechte Witze für uns? Schreibt uns bei WhatsApp oder schickt eine Sprachnachricht: 0174/4321508 Oder per E-Mail: faktab@swr2.de Oder direkt auf http://swr.li/faktab Redaktion: Sophie König und Chris Eckardt Idee: Christoph König

CRAGG Live From April 2nd, 2022Guest: Lenny Von DohlenJoin us as we chat with our guest actor Lenny Von Dohlen (Twin Peaks, Fire Walk With Me, Tender Mercies, Tollbooth, Electric Dreams, etc).Listen to the show HERE.What is CRAGG Live Anyways?!  The flagship radio show of Cult Radio A-Go-Go!'s, CRAGG Live is a lively 3 hour talk radio show hosted by Terry and Tiffany DuFoe LIVE from an old abandoned Drive-In Movie theater with Wicked Kitty, Fritz and Imhotep the studio cats and CRAGG The Gargoyle. We play retro pop culture, Drive-In movie, classic TV and old radio audio along with LIVE on the air celebrity interviews from the world of movies, TV, music, print, internet and a few odd balls thrown in for good measure. We air Saturdays 6:30-9:30 pm PST.We air on www.cultradioagogo.com which is a 24/7 free internet radio network of old time radio, music, movie trailers, old nostalgic commercials, snack bar audio, AND much more!  This show is copyright 2022 DuFoe Entertainment and the live interviews contained in this show may not be reproduced, transcribed or posted to a blog, social network or website without written permission from DuFoe Entertainment.NOTE* There is a brief leader before & after the show which was recorded "LIVE" off the air.

Luca ist angehender Doktor der Biologie und mein alter LK-Buddy. Wir haben in den letzten Jahren unserer Schulzeit viel Zeit zusammen verbracht und uns in vielen Punkten sehr gut ergänzt. Auch wenn wir nach dem Abi beide sehr unterschiedliche Wege eingeschlagen haben, hat uns das Leben immer wieder zusammengeführt. Luca ist mittlerweile Verhaltensbiologe und sein Alltag ist sehr stark der Forschung gewidmet. Was genau ihn antreibt, warum die Entscheidung für die Biologie nicht so leicht war und was genau es mit Dohlen auf sich hat, erfährst du in dieser Folge.

Dohlen schauen Krähen sehr ähnlich, sind aber etwas kleiner und etwas heller gefärbt. Auffällig sind ihre hellblauen Augen, die ihnen einen geradezu stechenden Blick verleihen. In Wien kann man diese frechen Vögel vor allem in der Nähe der Donau beobachten. Aber auch auf dem Zentralfriedhof oder im Schönbrunner Schlosspark. Ein besonderes Naturschauspiel findet allabendlich im Angelibad an der Alten Donau statt. Dort treffen in der Dämmerung große Schwärme von Dohlen ein und mischen sich mit Schwärmen von Krähen. Die hohen, keckernden Rufe der Dohlen und das heisere Krächzen der Krähen erfüllen die Luft, wenn sich die Vögel in den alten Platanen niederlassen, um dort in Gesellschaft zu übernachten.Dohlen suchen als Kulturfolger die Nähe von Menschen auf. Sie nutzen gerne Hohlräume in Häusern und alten Kamine als Brutplätze, die sie energisch gegen Konkurrenten verteidigen. Sprichwörtlich ist die Intelligenz der Dohlen und ihre Vorliebe für glitzernde Gegenstände. Dohlenexperte Ferdinand Schmeller von der Stadt Wien – Umweltschutz erzählt im Podcast von der zahmen Dohle seines Großvaters, von den Dohlenquartieren, welche die Stadt Wien den Vögeln anbietet, und er erklärt, was Hausbewohnerinnen und –bewohner für Dohlen tun können. Und vor allem, wie die Hörerinnen und Hörer einen Dohlenruf aus dem Geschrei der Krähen heraushören können.

Hour 2 of 7-22-21 Chaplet of Divine Mercy Sheila is joined by Tim von Dohlen, a great witness to life and faith! He talks about his experience in politics and public life, and how he has been an example of how not to abuse power, but rather to be a true servant of Christ. As […] All show notes at Chaplet/Texas Democrats Who Fled/Eucharistic Revival - This podcast produced by Relevant Radio

Tom is a comedian, director, actor, and member of VIBE CHECK, an Atlanta-based improv group. Instagram - @tomvondohlen @vibecheck02

Weitere Themen: Marburg freut sich über besonders viele Neugeborene. Ruderer von Gießener Verein für Olympia nominiert.

We couldn't resist this 80s scifi romance film starring Virginia Madsen and Lenny von Dohlen. Unexpectedly great! *SPOILER ALERT* We recap and discuss this movie in full. So, if you haven't seen it and don't want to know how it ends, we recommend watching it before listening to this podcast.  Timestamps:  Movies We Watched This Week: 37:20 Our Prescription for Next Week: 38:33 We are now accepting emails to offer advice! If you have a question or need advice that you want to be aired on the podcast, email us at . Each week we will read questions on air and offer our “professional” advice. We will prescribe you a great movie to watch to help you out! Follow us on Instagram @filmtherapypodcast  Be sure to like, subscribe, follow, rate, and review us! Music in episode: Someday - Acoustic Folk Background Music Edited by Madison Verhulst

The C Report for Friday, May 14, 2021.  --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/thecreport/message Support this podcast: https://anchor.fm/thecreport/support

2021 City of San Antonio Mayoral, City Council and School Board interviews --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/alamocityagenda/support

It is a critical time in our country, state and city. We cannot allow progressives to continue to damage our historic city and district. CONSERVATIVE VALUES MATTER. My name is Patrick Von Dohlen and I am the candidate that can defeat John Courage. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/theuncensoredvoice/message

A San Francisco-based architect named Miles Harding buys a new computer to help him stay organized and on schedule, as well as to assist in the design of a brick that will hold a building together through an earthquake. Realizing that it has the potential to streamline everything in his life, Miles uses it to control everything in his apartment, providing a security system, making his coffee, and turning on and off his lights. Miles wants to give it more power, tapping it into a major information source to download as much as it can take. Unfortunately, when the computer overheats, Miles pours champagne into the computer's circuits, causing it to malfunction in a strange way. It begins to think on its own, without directive - a self-aware being that shows an interest in music, humanity, and what it is like to feel love. Miles's new upstairs neighbor is a beautiful concert cellist named Madeline Robistat. One day while practicing a concert piece on the cello, Madeline hears music from downstairs accompanying her.  Madeline assumes this musician must be Miles, making her want to get to know him better. Miles also develops a crush on Madeline, but he's so romantically inexperienced, he turns to his sentient computer to help out. However, the computer learns about love and then also begins to fall for her. This kicks off a battle of wills, as the device meant to organize Miles's life is set to destroy it for getting in the way of its desire to achieve love. Starring Lenny von Dohlen and Virginia Madsen. Directed by Steve Barron.

"It's true! Vagina dentata!" Damien is joined by his friend Nyari to find out why she thinks the horror-comedy film, Teeth (2007) is a film everyone should see. Directed by Mitchell Lichtenstein and starring Jess Weixler, John Hensley and Lenny von Dohlen, this film poses the question: What if vagina's evolved to have teeth? Think about how the world would change. How cultural ideas of power would change. But right at the end, Nyari makes a point that brings it all into perspective.Movies and television shows named in this episode: Teeth (2007) The Incredibles (2004) Content note: This episode includes discussion of rape and sexual violence. Follow Camp, Scary and Squee on Instagram and Twitter: @campscarypod. Introduction music from the Youtube Audio Library: Groove Tube by Audio Hertz. See acast.com/privacy for privacy and opt-out information.

Question to consider: Why doesn't Twin Peaks have a courthouse? How do you make a Black Yukon Sucker Punch? Is Hawk a stone-cold murderer? What's Lenny Von Dohlen up to these days, and more importantly, can we get him on the podcast?

This week Patrick Von Dohlen and Mike Knuffke from the San Antonio Family Association join us to talk about the victory they had in their lawsuit against the City of San Antonio for banning Chick-fil-A.

Spotify: Itunes: __________________________________________________________________________________________Film: Home Alone 3Instruktion: Raja GosnellMedvirkende: Alex D. Linz, Olek Krupa, Rya Kihlstedt, Lenny von Dohlen og mange flere. Resumé: Alex er alene hjemme, da han har fået rødehunde. Da internationale terrorister laver indbrud for at finde en legetøjsbil, med en hemmelig chip. ________________________________________________________Kontakt:Facebook: FilmHulen Mail: Filmhulen@gmail.com_________________________________________________________________Links:Teepublic: http://tee.pub/lic/o8LNtAXLzuECassan: https://www.youtube.com/user/cassanim..._________________________________________________________________Mange tak, fordi du ser eller hører med!FilmHulen (Morten Dolberg og Lars Aabom) er meget beæret over din opmærksomhed, og håber du finder podcasten spændende og informativ._________________________________________________________________Alt visuelt i videoen er originalt og designet til podcasten.Video/audio production and artwork/design by Lars Tobiesen Aabom"Torsdags-Snak" theme by Kai Engel."FlixFilm Fredag" theme by https://www.bensound.comSound effects from “Star Wars: Battlefront 2 (2005)” is owned by Pandemic Studios & Disney"VHS-Bånd På Loftet" melody by Podington Bear."Bare-Stream-Den" melody by Podington Bear."Køb den på Blu-Ray" theme by Tuurdurt."Hall of Fame" melody by Tuudurt.

In today’s episode we join Robert Von Dohlen, a divorce lawyer for professionals based out of Houston Texas. We’ll discuss joining the legal field from an unconventional background, the challenges of communicating with clients in difficult life situations, marketing to upmarket clients, how FirmFlex has helped his social media strategy, and how to handle the intake process in a smaller-sized practice.   Hacking’s Hack: Check out the Google Chrome Extension “Facebook Timeline Eradicator”-it replaces your news feed with an inspirational quote so that you can check your notifications without getting sucked into the news feed scroll.   Tyson’s Tip: We threw a costume contest on Facebook and had a ton of interaction and feedback. Try to throw relative   Robert’s Recommendation: Shoot some video this week. Take your phone and shoot a 60-second video on the problem that you solved that day.   https://vondohlenlaw.com/   For more content from us please subscribe to our Youtube Channel   Don’t forget to sign up for MaxLawCon20! https://www.eventbrite.com/e/maximum-lawyer-conference-2020-tickets-62992819218   Thanks so much for listening to the show! If you want to know more about this and keep on maximizing your firm, please join our Facebook Group or like us on Facebook and comment!   You can also go to MaximumLawyer.com or, if you’d prefer, email us at: info@maximumlawyer.com   Interested in being on the show? Shoot us an email at support@maximumlawyer.com or message us on Facebook!   Welcome to the Maximum Lawyer Podcast. Partner up, and maximize your firm.

The gang talks Sexual Assault, Religion, and Strong Female Characters in their analysis of the 2007 film Teeth. Film Information Pierpoline, J. (Producer), & Lichtenstein, M. (Director). (2007). Teeth [Motion picture]. USA: Pierpoline Films. Genres: Comedy | Fantasy | Horror | Thriller IMDB: https://www.imdb.com/title/tt0780622 Cast of Interest: Jess Weixler as Dawn John Hensley as Brad Josh Pais as Dr. Godfrey Hale Appleman as Tobey Lenny von Dohlen as Bill Ashley Springer as Ryan Doyle Carter as Old Man Aspen as Mother, the Dog Transcripts for this episode and complete show notes are available on our website www.whatswrongwithus.xyz

Last week we discussed 1997's Home Alone 3, so this week means an interview with someone involved in the film, and we interviewed the amazingly talented actor Lenny von Dohlen. Lenny played bad guy Burton Jernigan in the film and was a pleasure to talk to. Over the years Lenny starred in the cult classic Electric Dreams, Tender Mercies, and is best known for his role as Harold Smith on Twin Peaks. Lenny has guest starred on a lot of series over the years and has a lot of fun stories from throughout his career. He was a kind soul and I know you will enjoy our conversation. Stay Tuned after the episode to hear the trailer for next week's interview with actor Kevin Kilner who played the dad in the movie! Follow us on twitter @sequelsonly. Follow Doug @dougdietzcomedy Check out Lenny's IMDB to check out his amazing work https://www.imdb.com/name/nm0902188/ If you are a looking for a theme song like the one you heard, reach out to Nightlife Audio and ask for James at www.nightlifeaudio.com

We're celebrating Christmas in May here at The Good, The Bad, And The Sequel (We know it's not a real thing....play along) because we are discussing 1997's Home Alone 3. Of course you remember Kevin McAllister being left alone and the sticky/wet bandits try to get him, but you will soon find out Alex Pruitt is far superior home protector. Hosts Doug and Jamie will breakdown this John Hughes film that could also have been called "Rear Window: For Kids." This movie's got talking parrots, bad guys with guns, and some amazing traps. Follow us on twitter @sequelsonly so you can tell us your thoughts and follow Doug @dougdietzcomedy Next week Doug has not 1, but 2 interviews for you. Lenny von Dohlen who plays Burton Jernigen, one of the four crooks, has been acting for over 35 years and has been so much amazing stuff. Cult Classics like Electric Dreams and his role as Harold Smith on Twin Peaks. Lenny was so interesting and had some things in common with Doug which was a great connection early on in the conversation. Then Doug had the chance to interview Kevin Kilner who played Jack Pruitt, Alex's Dad. Kevin was D1 lacrosse national champion at John Hopkins and didn't realize he wanted to act until few years after college, but we are all lucky he decided to. He was on a great short lived CBS series opposite Nancy Travis called "Almost Perfect." He is most known for a short scene in "American Pie 2" where he was the dad with the walkie talkies and a Frasier episode called "Roz and the Schnozz." He has some eye opening stories about his career and really loves what he does. If you are a looking for a theme song like the one you heard, reach out to Nightlife Audio and ask for James at www.nightlifeaudio.com

Charles Skaggs & Xan Sprouse continue their Twin Peaks commentaries with "The Man Behind Glass", the third episode from Twin Peaks Season 2 in 1990, featuring the introductions of Lenny Von Dohlen as Harold Smith, Michael Parks as Jean Renault, and Ian Buchanan as Dick Tremayne! Find us here: Twitter: @GhostwoodCast @CharlesSkaggs @udanax19 Facebook: Facebook.com/GhostwoodPodcast Email: GhostwoodPodcast@gmail.com Listen and subscribe to us in Apple Podcasts and leave us a review!

How does a computer from 1984 have such amazing abilities? Which radio love therapist does this PC prefer? And how does Jeff Lynne (ELO) figure in to all this? Listen now to find out! When Miles (Lenny von Dohlen) brings home a computer, it becomes sentient and jealous of Miles's burgeoning romance with the attractive neighbor upstairs (Virginia Madsen). Scott Croco and Mike Young unhack Electric Dreams (1984). Episode 006 - Electric Dreams (1984) unhacked! Movies Unhacked explores movies and their depictions of technology. We analyze everything from Hollywood blockbusters and television shows, to sci-fi, horror, and classic cinema. Movie talk and tech talk in one handy podcast! Online: moviesunhacked.com Twitter: @moviesunhacked Facebook: facebook.com/moviesunhackd Music by Sean Haeberman Copyright © 2018 Movies Unhacked. All rights reserved.

"Vote for the Voiceless" with Patrick Von Dohlen by Abortion Hurts God HealsSee omnystudio.com/listener for privacy information.

Orquesta Sinfónica Alemana de Berlin dirigida por Riccardo Chailly. Soprano: Susan Dunn Mezzosoprano: Brigitte Fassbender Contralto infantil: Markus Baur Tenor: Werner Hollweg Bajo: Andreas Schmidt Coro de la Ciudad de Dusseldorf 1. Waldmärchen / Cuento de hadas forestal (0:00) 2. Der Spielmann / El Trovador (28:12) 3. Hochzeitstück / Música nupcial (45:53) LETRA Texto del propio Mahler Waldmärchen Es war eine stolze Königin Gar lieblich ohne Massen; Kein Ritter stand nach ihrem Sinn, Sie wollt' sie alle hassen. O weh! Du wonnigliches Weib! Wem blühet wohl dein süßer Leib? Im Wald eine rote Blume stand, Ach, so schön wie die Königinnen; Welch Rittersmann die Blume fand, Der konnt' die Frau gewinnen! O weh! Du stolze Königin! Wann bricht er wohl, dein stolzer Sinn? Zwei Brüder zogen zum Walde hin, Sie wollten die Blume suchen; Der Eine hold, von milden Sinn, Der And're konnt' nur fluchen! O Ritter, schlimmer Ritter mein, O ließest du das Fluchen sein! Als sie so zogen eine Weil', Da kamen sie zu scheiden; Das war ein Suchen nun in Eil' Im Wald und auf der Heiden! Ihr Ritter mein, im schnellen Lauf, Wer findet wohl die Blume? Der Junge zieht durch Wald und Heid', Er braucht nicht lang zu geh'n; Bald sieht er von ferne bei der Weid' Die rote Blume steh'n. Die hat er auf den Hut gesteckt, Und dann zur Ruhe sich hingestreckt. Der And're zieht im wilden Hang, Umsonst durchsucht er die Heide, Und als der Abend hernieder sank, Da kommt er zur grünen Weide! O weh! Wen er dort schlafend fand, Die Blume am Hut, am grünen Band! Du wonnigliche Nachtigall, Und Rotkehlchen hinter den Hecken, Wollt ihr mit eurem süßem Schall Den armen Ritter erwecken? Du rote Blume hinter'm Hut, Du blinkst und glänzest ja wie Blut! Ein Auge blickt in wilder Freud' Dess'm Schein hat nicht gelogen; Ein Schwert von Stahl glänzt ihm zur Seit', Das hat er nun gezogen. Der Alte lacht unter'm Weidenbaum, Der Junge lächelt wie im Traum. Ihr Blumen, was seid ihr vom Tau so schwer? Mir scheint, das sind gar Tränen! Ihr Winde, was weht ihr so traurig daher, Was will euer Raunen und Wähnen? "Im Wald, auf der grünen Heide, Da steht einen alte Weide." Der Spielmann Beim Weidenbaum, im kühlen Tann, Da flattern die Dohlen und Raben, Da liegt ein blonder Rittersmann Unter Blättern und Blüten begraben. Dort ist's so lind und voll von Durft, Als ging ein Weinen durch die Luft! O Leide, Leide! Ein Spielmann zog einst des Weges daher, Da sah er ein Knöchlein blitzen, Er hob es auf, als wär's ein Rohr, Wollt' sich ein Flöte d'raus schnitzen. O Spielmann, lieber Spielmann mein, Das wird ein seltsam Spielen sein! O Leide, weh'! O Leide! Der Spielmann setzt die Flöte an, Und läßt sie laut erklingen: O Wunder, was nun da begann! Welch' seltsam traurig Singen! Es klingt so traurig und doch so schön! Wer's hört, der möcht' vor Leid vergeh'n! O Leide, Leide! "Ach Spielmann, lieber Spielmann mein! Das muß ich dir nun Klagen: Um ein schönfarbig Blümelein Hat mich mein Bruder erschlagen! Im Walde bleicht mein junger Leib! O Leide! Mein Bruder freit ein wonnig Weib! O Leide, Leide! Weh!" Der Spielmann ziehet in die Weit', Läßt's überall erklingen. "Ach weh', ach weh', ihr lieben Leut'! Was soll denn euch mein Singen?! Hinauf muß ich zu des Königssaal! Hinauf zu des Königs holdem Gemahl!" O Leide, weh! O Leide! Hochzeitsstück Vom hohen Felsen erglänzt das Schloß. Die Zinken erschall'n und Drometten erschall'n. Dort sitzt der mutigen Ritter Troß, Die Frau'n mit goldenen Ketten. Was will wohl der jubelnde, fröhliche Schall? Was leuchtet und glänzt im Königssaal? O Freude, heiah! Freude! Und weißt du's nicht, warum die Freud'? Hei! Daß ich dir's sagen kann! Die Königin hält Hochzeit heut'! Mit dem jungen Rittersmann! Seht hin! Die stolze Königin! Heut' bricht er doch, ihr stolzer Sinn! O Freude, heiah! Freude! Was ist der König so stumm und bleich? Hört nicht des Jubels Töne! Sieht nicht die Gäste, stolz und reich, Sieht nicht der Königin holde Schöne! Was ist der König so bleich und stumm? Was geht ihm wohl im Kopf herum? Ein Spielmann tritt zu Türe herein, Was mag's wohl mit dem Spielmann sein? O Leide, Leide! Weh! "Ach, Spielmann, lieber Spielmann mein! Das muß ich dir nun klagen! Um ein schön farbig Blümelein Hat mich mein Bruder erschlagen! Im Walde bleicht mein junger Leib, Mein Bruder freit ein wonnig Weib!" O Leide, weh, o Leide!" Auf springt der König von seinem Thron! Und blickt auf die Hochzeitsrund! Und nimmt die Flöte in frevelndem Hohn Und setzt sie selbst an den Mund! O Schrecken, was nun da erklang! Hört ihr die Märe, Todesbang! "Ach Bruder, lieber Bruder mein! Du hast mich ha erschlagen! Nun bläst du auf meinem Totenbein! Dess' muß ich ewig Klagen! Was hast du mein junges Leben, Dem Tode hingegeben?" O Leide, weh, o Leide! Am Boden liegt die Königin! Die Pauken verstummen und Zinken. Mit Schrecken die Ritter und Frauen flieh'n. Die alten Mauern sinken! Die Lichter verloschen im Königssaal. Was ist es wohl mit dem Hochzeitsmahl?! Ach Leide! EN ESPAÑOL Cuento del bosque Érase una reina orgullosa adorable sin medida; ningún caballero era de su agrado, ella quería odiar a todos. ¡Oh dolor! ¡Dime, deliciosa mujer! ¿Para quién florece tu dulce cuerpo? En el bosque había una flor roja, ah, tan bella como la reina; el caballero que encontrara la flor, ¡ganaría la mujer! ¡Oh dolor! ¡Dime, orgullosa reina! ¿Cuándo se quebrará tu altanería? Dos hermanos marchan al bosque, quieren buscar la flor; el uno es amable, de dulce carácter, ¡el otro sólo sabía blasfemar! ¡Oh caballero, mal caballero, deja ya de blasfemar! Tras marchar así un trecho, ambos se separaron; ¡prestos buscaron en los bosque y los campos! ¡Oh caballeros, en rápida carrera! ¿quién encontrará la flor? El joven recorre bosques y campos, no ha de andar demasiado; pronto ve a lo lejos, en el prado, dónde está la roja flor. La coloca en el sombrero y se echa a descansar. El otro marcha a las salvajes pendientes, en vano registra los campos, y cuando desciende la noche, ¡llega al verde prado! ¡Oh dolor! A quién encontrara durmiendo, ¡la flor en el sombrero, en la verde cinta! Decidme, delicioso ruiseñor, y petirrojo tras la cerca, ¿queréis con vuestro dulce trino despertar al pobre caballero? Tú, roja flor tras el sombrero, ¡brillas y fulguras como sangre! Un ojo mira con feliz alegría, su brillo no ha mentido; una espada de acero fulgura a su lado, una espada que acaba de sacar. El viejo ríe bajo el sauce, el joven sonríe como en sueños. Flores, ¿cómo tan cargadas de rocío? ¡Me parece que son lágrimas! ¿Vientos, qué gemís tan tristemente, qué quieren vuestros murmullos e ilusiones? "En el bosque, en el verde campo, allí hay un viejo prado." El Músico Junto al sauce, en la fría floresta, donde aletean grajos y cuervos, yace un rubio caballero, sepultado bajo hojas y flores. ¡Allí, donde el aire es suave y perfumado, como si un llanto atravesara el viento! ¡Oh dolor, dolor! Un músico atravesaba aquel camino cuando vio brillar un huesecillo, lo recogió, como si fuera una caña, quiso tallarse con él una flauta. ¡Oh músico, querido músico mío, será un extraño son! ¡Oh dolor, ay! ¡Oh dolor! El músico dispone la flauta, y con fuerza la hace sonar: ¡Oh maravilla, lo que entonces comenzó! ¡Qué raro y triste cantar! ¡Tan triste suena, pero tan bello! ¡Quien lo oyera, quisiera morir de dolor! ¡Oh dolor, dolor! "¡Ay músico, querido músico mío! Mi dolor expreso ante ti: por una florecilla de bellos colores ¡me dio muerte mi hermano! ¡En el bosque palidece mi joven cuerpo! ¡Oh dolor! ¡Mi hermano pretende a una dulce mujer! ¡Oh dolor, dolor! ¡Ay!" El músico marcha a lo lejos y en todas partes lo hace sonar. ¡"Ay, ay, queridas gentes! ¿Qué significa para vosotros mi cantar? ¡Al salón del rey he de subir! ¡Ante la encantadora esposa del rey! ¡Oh dolor, ay! ¡Oh dolor! Pieza Nupcial Desde altas rocas refulge el castillo. Los clarines resuenan y las trompetas resuenan. Allí se sienta el séquito del gran caballero, las mujeres con cadenas de oro. ¿Qué significan los sones jubilosos, joviales? ¿Qué brilla y relumbra en el salón real? ¡Alegría, hurra! ¡Alegría! ¿Y no sabes por qué esta alegría? ¡Pues yo te lo diré! ¡La reina se casa hoy! ¡Con el joven caballero! ¡Mira! ¡La orgullosa reina! ¡Hoy se quiebra, sí, su altanería! ¡Alegría, hurra! ¡Alegría! ¿Por qué está el rey tan pálido y callado? ¡No oye los sones de júbilo! ¡No ve a los huéspedes, orgullosos y ricos, no ve la encantadora belleza de la reina! ¿Por qué está el rey tan pálido y callado? ¿Qué da vueltas en su cabeza? Un músico aparece por la puerta, ¿qué pasará con el músico? ¡Oh dolor, dolor! ¡Ay! "¡Ay músico, ay músico mío! ¡Mi dolor expreso ante ti! ¡Por una florecilla de bello color me dio muerte mi hermano! ¡En el bosque palidece mi joven cuerpo, mi hermano pretende a una dulce mujer!" ¡Oh dolor, ay, oh dolor! ¡De un salto se levanta el rey de su trono! ¡Y mira al cortejo nupcial! ¡En burla criminal toma la flauta y él mismo se la lleva a los labios! ¡Oh horror, qué sonó entonces! ¡Escuchad la leyenda, con terror mortal! "¡Ay hermano, ay hermano mío! ¡Tú me diste muerte! ¡Y ahora soplas en mi hueso! ¡De eso tendré que dolerme siempre! ¿Por qué mi joven vida, entregaste a la muerte?" ¡Oh dolor, ay, oh dolor! ¡La reina yace en el suelo! Las trompetas y los clarines enmudecen. Con horror, caballeros y damas huyen. ¡Los viejos muros se hunden! Las luces se apagan en la sala real. ¿Qué ha ocurrido con el banquete nupcial? ¡Ay dolor!

Diese Woche habe ich Michael Dohlen von http://sidepreneur.de zu Gast. Michael verkörpert den selbstbewussten Sidepreneur. Er hat einen Job, der ihm Spaß macht und baut daneben Unternehmen auf. Michael hat sich stark auf den Aufbau von Communities für Sidepreneure zur gegenseitigen Unterstützung fokussiert. Eine Strategie, die für Autoren und Autorinnen interessante Perspektiven öffnet. In dieser Folge sprechen wir über folgende Themen: Warum es eine gute Strategie ist, ein Business ohne finanziellen Druck aufzubauen. Warum Foren, wo du mit gleichgesinnten Menschen zusammenkommst, um euch gegenseitig auszutauschen und zu unterstützen, so hilfreich sind. Was Autoren und Autorinnen mit Sidepreneuren gemeinsam haben. Was eine Mastermindgruppe ist und wie die Mitglieder davon profitieren. Wie du selbst eine Mastermindgruppe findest und organisierst. Welche Communities für Sidepreneure für dich offen sind.   Hier die Links, die wir im Podcast ansprechen und weiterführende zu Informationen, Tipps und Erfahrungsberichten rund um Bücher, eBooks und deinen Erfolg: Sidepreneur -> http://sidepreneur.de/  Sidepreneur FB Gruppe -> https://www.facebook.com/groups/sidepreneurcommunity/  MastermindGroups -> www.mastermindgroups.de Das Dokument zu Communities, das Michael im Gespräch ankündigt -> http://sidepreneur.de/tom Hier bekommst du deine gratis Anleitung »In 6 Schritten zu deinem Bestseller« 6-teiliger Videokurs +eBook: Jetzt gratis anfordern! Hier findest du Tom auf Facebook. https://www.facebook.com/buchundebookschreiben Hier kommst du direkt zu Toms Facebook-Gruppe rund ums Schreiben und Vermarkten von Büchern und eBooks. https://www.facebook.com/groups/Buchundebookschreiben/ Hier findest du »Toms Buch-TV« meinen Youtube-Kanal rund um Bücher und eBooks. https://www.youtube.com/channel/UCKoD5d7_GoclDswdhP1w0qA

This week, it's Home Alone 3 (Alex D. Linz, Olek Krupa, Lenny von Dohlen, Haviland Morris, Kevin Kilner, Rya Kihlstedt, David Thornton, Scarlett Johansson, Seth Smith, Neil Flynn), with friend of the show, Abra Moore. Hughes goes John Woo, Sixteen Candles' Haviland Morris returns as a mom, RC Cars reign supreme in the 1990s, and the Pruitt family is obsessed with dat booty. Anthony gets awkward during Robin Williams' Jack, and tells a farfetched story about a recent Uber ride. Abra talks about living on a farm with a duck, and Tim finds a new favorite actor in Darren T. Knaus. The boys' love Cinefile, local video sanctuary, and home to the world's only Chris Elliott section.

Am 30./31. Mai 2008 fand der fraLine-Softskills-Workshop auf der von Dohlen bevölkerten Burg Stahleck im Weinort Bacharach statt. Neben vielen spannenden Beiträgen zu etwa neuen Medien im Unterricht, Softwarekatalogen, Zeitmanagement, Möglichkeiten der technischen Unterstützung beim Aufgabenmanagement sowie "Do and do not" beim Vorort-Service, die unterhaltsam und sehr informativ waren, hatte ich die Gelegenheit einen Vortrag zum Lernen mit Web 2.0 Technologien zu halten. Wie immer habe ich diesen aufgezeichnet. Screencast (Video) Podcast (MP3-Audio 10,3 MB)Mindmap: Lernen mit Web 2.0Ich habe den Vortrag diesmal um eine Mindmap herum gestaltet. Die Mindmap wurde zunächst mit Freemind erstellt und dann in Mindmeister übertragen.Published under Creative Commons - Use attribution - Non Commercial - Share alike