Podcasts about Drugstore Cowboy

This week we get examine the notion of how it's not paranoia if they're watching! aka The Drugs Aren't Alright. The films are the Gus Van Sant 1989 film Drugstore Cowboy and Danny Boyle's seminal 1996 film Trainspotting. Timings for this week are: Drugstore Cowboy (03:29) Trainspotting: (29:46) Next week, the theme for episode 237 will be cinematic hoteliers. Follow us on social media: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Threads⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Bluesky⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Letterboxd⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: frame.to.frame250@gmail.com Join our Discord: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Frame to Framers⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and that of the wider ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Film Stories Podcast Network⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support Film Stories Podcast Network on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/simonbrew⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: @filmstories Facebook/Instagram/Threads: Film Stories Website: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://filmstories.co.uk/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Gothamlicious by Kevin MacLeod ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Link⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠License⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Leave us a review on Podchaser or Apple Podcasts! Learn more about your ad choices. Visit megaphone.fm/adchoices

Beloved actress, director and passionate foodie Heather Graham joins Phil and David for a fun and sandwich-filled episode of "Naked Lunch." Over sandwiches from Lorenzo California -- including a new tasty collaboration with Phil and Lorenzo --  Graham discusses her journey from being the self-professed nerdy daughter of an FBI Agent to the stunning movie star in films from "License To Drive" to "Drugstore Cowboy," "Boogie Nights" to "Bowfinger," "Austin Powers: The Spy Who Shagged Me" to "The Hangover." Click here to follow Heather on Instagram.  To learn more about building community through food and "Somebody Feed the People," visit the Philanthropy page at philrosenthalworld.com.

This Week in Pharmacy - November 7, 2025 TWIRx News: First up, Binghamton University School of Pharmacy holds emergency management simulation, VCU Health pharmacies expand access through new home delivery options, and Lilly and U.S. government agree to expand access to obesity medicines to millions of Americans.  Our special guest line up on TWIRx:   Amantha Bagdon - CEO of RxPost  PGX Pharmacist's Protection of Patients with Dr. Melissa Smith PharmD Arkansas HB 1150 TO PROHIBIT A PHARMACY BENEFITS MANAGER FROM OBTAINING CERTAIN PHARMACY PERMITS. with John Vinson CEO of the Arkansas Pharmacy Association & Greg Reybold with APCI  4th Generation Pharmacy Owner C.O. Bigelow (the oldest Apothecary in America) the Drugstore Cowboy, Alec Gingsberg PharmD Thank you toour sponsors:  Independent Pharmacy Cooperative (IPC) Yaral Pharma  SureCost The Drugstore Cowboy Rides Again: PBM Reform in Arkansas & PGx Safeguards for Xeloda Patients | TWIRx  

FAT BASTARD & MINI ME!! Austin Powers: The Spy Who Shagged Me Full Movie Reaction Watch Along:   / thereelrejects   Go to https://www.HelloFresh.com/REJECTS10FM now to Get 10 Free Meals + a Free Item per box for Life with active subscription! Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ With Austin Powers 4 in development, Aaron & Johnald RETURN to give their Austin Powers: The Spy Who Shagged Me Reaction, Recap, Analysis, & Spoiler Review! Aaron Alexander & John Humphrey dive into the outrageous world of 1999's raunchy spoof comedy classic, Austin Powers: The Spy Who Shagged Me, directed by Jay Roach. The sequel to Austin Powers: International Man of Mystery brings back Mike Myers (Wayne's World, Shrek) in triple duty as groovy spy Austin Powers, the maniacal Dr. Evil, and the bizarre Fat Bastard. Joining him is Heather Graham (Boogie Nights, Drugstore Cowboy) as Felicity Shagwell, Austin's new partner in espionage, alongside Michael York (Logan's Run, Cabaret) as Basil Exposition and Robert Wagner (Hart to Hart) as Number Two. Rob Lowe (Parks and Recreation, St. Elmo's Fire) also hilariously plays the younger version of Number Two, while Seth Green (Family Guy, Robot Chicken) returns as Scott Evil, and Verne Troyer delivers one of cinema's most iconic comedy sidekicks as Mini-Me. This outrageous sequel finds Dr. Evil traveling back to the 1960s to steal Austin's mojo, forcing Powers and Felicity to stop him in a time-travel romp filled with over-the-top parody, ridiculous gadgets, and quotable one-liners. Famous scenes include the introduction of Mini-Me, Fat Bastard's “I eat because I'm unhappy” gag, and the groovy “mojo” storyline that cemented the movie as a pop culture phenomenon. With outrageous humor, cheeky spy send-ups, and a now-legendary soundtrack featuring Madonna's “Beautiful Stranger,” this entry remains one of the most beloved comedies of the late ‘90s. Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Check out Steve-O's specials and The Crash and Burn! Tour at http://www.steveo.com! SPONSORS: This episode is brought to you by BetterHelp. Visit https://betterhelp.com/dannybrown to get 10% off your first month. Sign up for a $1 per month trial period at https://shopify.com/dannyb Download the Gametime app, create an account, and use code DANNYB for $20 off your first purchase. On this episode of The Danny Brown Show, Steve O takes a shot at redemption and apologizes for his last controversial appearance. He and Danny also talk about motorboating, taking dumps, and jerkin in public. Plus, we get weird web videos featuring a sperma attack, a Tarzan fail, a head smash, and log cabin fail, and farting on apples. Other topics: condoms, Drugstore Cowboy, Ouija boards, video games, and Steve O's very sweet dog that he brought on the show. Yeah, dude. Have a question for Danny? Hit us up at danny@thedannybrownshow.com The Danny Brown Show Ep. 155 https://xdannyxbrownx.com https://store.ymhstudios.com Chapters 00:00:00 - Intro 00:00:54 - Steve O Addresses His Last Appearance 00:08:14 - Danny's Music & Sobriety 00:14:24 - Spin the Wheel: Motorboating 00:15:26 - Ask Danny: Public Jerk & Taking Dumps 00:18:06 - Scariest Thing That's Happened & True Crime 00:22:28 - Ghosting a Friend Zone & Condoms 00:25:35 - Weird Web Videos: Tarzan Fail & Sperm Attack 00:28:35 - Head Smash, Apples Farts, & Cabin Fails 00:31:18 - Doing Shows, His Dog, & Apologizing for Last Time 00:34:37 - Spin the Wheel: Ouija Boards Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textDan and Mike are back with another episode of the Oh Brother Podcast! This time, they're looking at the 1989 cult classic Drugstore Cowboy. Directed by Gus Van Sant (director of Mala Noche & Good Will Hunting), this film was just recently re-released as a part of the Criterion Collection. This week, Dan and Mike look over the film, including extra insights provided by the criterion release.Cinematographer and Producer Johnny Derango Actress Karissa Lee StaplesSupport the showOh Brother Podcast: Subscribe on YouTube Listen on all podcast platforms Follow us on Instagram Leave a 5-star rating/review on Apple Podcasts

Actress and filmmaker Heather Graham joins The Art of Kindness with Robert Peterpaul to discuss acts of kindness throughout her lengthy career, how her new film Chosen Family helped her learn to keep people pleasing under control, holding unconditional self-love and more. HEATHER GRAHAM discovered her passion for acting at an early age and caught the attention of filmmakers with her breakout role in Gus Van Sant's DRUGSTORE COWBOY, for which she received an Independent Spirit Award nomination. Graham went on to land unforgettable roles in the 1997 classic BOOGIE NIGHTS, for which she received the MTV Movie Award for Best Breakthrough Performance, in 1999's AUSTIN POWERS: THE SPY WHO SHAGGED ME and in 2009's THE HANGOVER alongside Bradley Cooper and Zach Galifinakis.  Graham has expanded into writing, directing, and producing, proving herself to be a multi-hyphenate leading talent with critically acclaimed, HALF MAGIC, a film she wrote and directed, which was released in theaters and on VOD February 2018. The raunchy, female-driven comedy follows three women set out on a hilarious search for self-fulfillment while overcoming the roadblocks in their personal and professional lives. Graham also executive produced and starred in the feature film CAKE, a romantic comedy also starring Sandra Oh and Cheryl Hines. That self-fulfillment theme, along with a throughline of people pleasing is prevalent in her latest flick - CHOSEN FAMILY. Graham wrote, directed, and starred in the rom-com, which debuted in 2024. This movie is a centerpiece to today's conversation, along with kindness, of course. In addition to more producing, up next, Graham will be featured alongside Nicolas Cage in the Western THE GUNSLINGERS. Follow Heather: @imheathergraham Follow us: @artofkindnesspod / @robpeterpaul youtube.com/@artofkindnesspodcast Support the show! (https://www.buymeacoffee.com/theaok) Got kindness tips or stories? Want to just say hi? Please email us: artofkindnesspodcast@gmail.com Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's episode is on Gus Van Sant's Drugstore Cowboy. We talked about noir fatalism, drug narratives, GVS' unique filmography, and more. Then, on MiTM, we get into Heretic, Vaazhai, and Demonlover. Get the full episode and a lot more for $5/mo at https://www.patreon.com/Extended_Clip

Send us a textThe New Era begins with new co-host Matt Fresta. Fresta is the editor of Rango Tango Magazine and is now the "second mic."For this first episode, we chat about William S Burroughs, 'The Place of Dead Roads', a psychedelic, gunslinging Western with science fiction elements and Burroughs' trademark deconstructionist schtick.On the Patreon-exclusive show, Back Matter, we chat about Gus Van Sant's Drugstore Cowboy, which pairs well with Burroughs (he makes a cameo as a junkie priest). Feel free to subscribe at https://www.patreon.com/GettingLitFollow Fresta on X: https://x.com/newfacenhellAnd Instagram: https://www.instagram.com/rangotangozine/Support the show

The new movie Longlegs is a psychological horror film that follows FBI Agent Lee Harker as she investigates a series of mysterious murder-suicides. The victims, all families, leave behind cryptic messages signed "Longlegs." As Harker delves deeper into the case, she uncovers a dark connection to the occult and must confront a terrifying supernatural entity. For cinematographer Andrés Arochi, technical mastery is key, but it's always in service to the story. “It has to come from something inside you that says, 'I want to create this' and then you find a technical way to do it,” he says. “For me it's always trying to be true to that instinct and to whatever feels right, and when you do it, then you're talking about yourself so it's easy to see yourself reflected.” Longlegs is Andrés' first international feature. For the past 12 years, Andrés has been working as a DP in Mexico. With no formal training, he began taking photos of friends in the music scene at age 17. Soon, he began creating projection video displays for concerts and shooting music videos and commercials. This led to work on huge music video and film sets as an on-set photographer, where he met Mexican cinematographers Guillermo Garza (the cinematographer of The Thicket), Alexis Zabé and Galo Olivares. Standing next to these skilled DPs with his camera in hand allowed Andrés to learn alongside them, and he would watch and ask questions, often copying their settings on his camera to experiment. In his spare time, Andrés would go out and practice the new techniques he learned, shooting low-budget films and music videos for friends. Fellow Mexican cinematographer Galo Olivares shot director Osgood Perkins' Gretel and Hansel, and he introduced Andrés to Perkins when the director was looking for a DP for Longlegs. Andrés was drawn to the humor in the Longlegs script, and loved that some comedy existed, even within a horror film. Unlike a lot of cinematographers and directors, Andrés and Perkins didn't create a lookbook or speak in depth about filmic references, such as Silence of the Lambs and Se7en, which were influences for Longlegs. Instead, Andrés says, “When we did talk about movies, it was more movies that had nothing to do with the genre. We talked a lot about My Own Private Idaho, Drugstore Cowboy—a lot of Gus Van Sant 1990s indie America filmmaking. Elephant was an influence on the way we used Steadicam.” One artistic reference Andrés used was The Son of Man by artist René Magritte, a painting showing a man with his face hidden by an apple. Andrés loved the idea of keeping the face of Longlegs the killer hidden at first. Andrés chose to shoot on 35mm film and in a 4:3 aspect ratio for parts of Longlegs that take place in the 1970's. “Using film changes the emotion. Everyone stays focused and shooting on film makes it necessary for everyone to rehearse. So, I decided to shoot 35mm for everything in the 1970s and go with a 4:3 aspect ratio, then we did 2.39 and shot on digital with the Alexa Mini LF for the 1990s.” During the Longlegs shoot, director Osgood Perkins wanted the film crew to use their creativity. “Oz was always encouraging the whole team, like do what you feel, you understand the movie we're doing, just do the best version of you,” says Andrés. “So I was very, very inspired, and that created the space for us to create from our hearts using the best tools we had.” Find Andrés Arochi:http://www.andresarochi.com/selected Instagram: @andresarochi Sponsored by Hot Rod Cameras: https://hotrodcameras.com/ Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

https://notesonfilm1.com/2024/09/26/the-gus-van-sant-podcast-no-2-drugstore-cowboy-1989/ We found DRUGSTORE COWBOY, Gus Van Sant's second feature, beautiful, imaginative and moving; a film that gets better with each viewing. We discuss Matt Dillon, so extraordinarily good looking and yet also so very believable as a ‘regular guy'; Tom Waits was the original casting and we talk about what Dillon brings to the role, his choices, and another possible connection to Van Sant, how he is also drawn to the marginal, the outsider; we talk about the experimental montages, clearly influenced by Anthony Balch's Fires Open Fire (1963) which evoke a subjective state of mind, usually drug fuelled, but which also act as a structuring device and help make the film aesthetically cohesive. We discuss continuities: time-lapse photography, Super8 filming, the Pacific Northwest, subject matter of marginals, outsiders, small time crims, junkies. We both agree that we don't like William Burroughs in the film, even though he was much praised upon its release. We discuss how Van Sant's second feature is an announcement of a major American director with a distinctive voice, a very particular style, a visual vernacular, a contiguous world from film to film, peopled by recurring figures, a darkly comic tone

https://notesonfilm1.com/2024/09/22/the-gus-van-sant-podcast-1-mala-noche-1985/ A new podcast to accompany a new mini-research project. Richard's kindly humoured me and consented to help kickstart this project, but he'll only co-host with me for the first three films so I shall be reaching out to some of you to talk to me about the rest – and certainly if you have a particular interest in any of Van Sant's films and would like to podcast on them with me, do please get in touch. I'm hoping to build a resource here, not only with the podcasts but eventually with clips, images, a bibliography and more. It will be a process. In this inaugural podcast we talk about Van Sant's first feature, based on Walt Streeter's autobiographical novel, self-financed for $20,000 and filmed on 16mm. We discuss what made us uncomfortable on first viewing, in my case when the film first came out: the power differentials between the characters; the racialised dimension to the casting; but we also discuss why it arguably remains a great film – and the troublesome aspects are part of its greatness. We discuss how the film is an announcement of a new voice in American cinema, with roots in a history of queer culture (John Rechy, Genet, Warhol, The Beats). We speculate on the film's romanticism within a quite fluid representation of sexuality that distinguishes between acts, desire, feelings and identities; queer avant-la-lèttre. We talk about the film's look, one partly dictated by the film's budget, few lights available thus the choice of hard one-directional lighting; making for a noir look but with a beat, bohemian sensibility. MALA NOCHE arrives in the context of new forms of finance, distribution and exhibition permitted by the developing video rental market. One could now produce low-budget films which heretofore challenging subect matterand/or challenging forms and make money from niche markets. Van Sant appears alongside Jarmusch, Spike Lee and other indie filmmakers in the mid 80s. MALA NOCHE can be thought of as a the first of what may be considered a trilogy (alongside DRUGSTORE COWBOY and MY OWN PRIVATE IDAHO), at least thematically: it's North West setting, the marginal cultures, the bohemian romance of outsiderness, it's avant-garde components, its daring. An exciting film to re-watch and talk about.

Ideas & Insights Thoughts out loud. A way to think ideas into solutions. 1/4 of a Year in Book Report: Film As Film The Collected Writings of Gregory J. Markopoulos Movie Overviewed: https://boxd.it/ueHiQ Be kind - Stay in control Read more books, stay amazing Be Thankful - Be Grateful podcastjebuth.com #podcast #VLOG #Talkshow

Drugstore Cowboy is a 1989 American crime drama film directed by the American filmmaker Gus Van Sant. Written by Van Sant and Daniel Yost and based on an autobiographical novel by James Fogle, the film stars Matt Dillon, Kelly Lynch, Heather Graham and William S. Burroughs.

Episode 383: The Crew's wondering how beautiful they'd be if they were drug addicts while watching Gus Van Sant's Drugstore Cowboy. This indie film wasn't a box-office hit, but word of mouth made it a much talked about VHS rental. Over thirty years later, Van Sant's film about drug addiction, does seem tame and light hearted. The Crew discusses… If you like our music intro, head over to Soundcloud and hear more amazing music from aquariusweapon. Aquariusweapon can also be found on YouTube. Contact: moviecrewpod@gmail.com

     This week- two films about mind altering events.     Bob leads a crew that rods pharmacies in 1971. After a successful job, a local cop picks up after them without any sign of letting up and forces the gang to hit the road for a tour across the Pacific Northwest. Before long, Bob will have to face the worst hex of all and a few difficult life choices. The second feature from Gus Van Sant, Drugstore Cowboy.     High School students Taki and Mitsuha switch bodies. Without any known reason or connection. Immediately they begin to cause massive chaos on each other's lives. Shinkai Makoto's Western breakthrough feature and the third highest grossing Japanese film of all time, Your Name.     All that and a tiny titan plots from the shadows. Join us, won't you?   Episode 347- High as a Comet

Only in dreams, The Golden Globes are bullshit, Spoon and getting screwed by a major label, fuck you Shakespeare, a mea culpa to Janet Weiss, fuck influencers, the genius of Albert Brooks, life can be rough, praying to Crom, and the amazing band Pixies. Stuff mentioned: Spoon "Loss Leaders" (2006), Spoon Soft Effects EP (2006), Spoon A Series of Sneaks (1998), Spoon "The Minor Tough" (1998), Spoon "The Agony of Lafitte" (1998), William Shakespeare Richard III (1633), Quasi "Two by Two" (1999), Quasi "R.I.P." (2013), Quasi "Nothing, Nowhere" (2001), Mel Torme "No Moon at All" (1960), Mother (1996), It Happened One Night (1934), Drugstore Cowboy (1989), Conan the Barbarian (1982), Pixies Trompe Le Monde (1991), Pixies "Motorway to Roswell" (1991), Pixies "Motorway to Roswell" Peel Session (1991), and Pavement "Brink of the Clouds/Candylad" Wireless JJJ Radio Australia (1994).

Episode Notes Patreon links to listen to... The Tree of Life https://www.patreon.com/posts/final-episode-w-92097278 Drugstore Cowboy https://www.patreon.com/posts/59283765 Field of Dreams https://www.patreon.com/posts/59116181 The Big Sleep https://www.patreon.com/posts/episode-80-twin-51740374 Angel Face https://www.patreon.com/posts/51739417 3 Women https://www.patreon.com/posts/42610416 The FBI Story https://www.patreon.com/posts/39823207 Wiseguy & What Did Jack Do? https://www.patreon.com/posts/33432782 La Dolce Vita https://www.patreon.com/posts/26801960 The Double Life of Veronique https://www.patreon.com/posts/26756986 Fire in the Sky https://www.patreon.com/posts/26656098 Browse films in focus (scroll down for Patreon) https://www.lostinthemovies.com/p/film-in-focus.html & film capsules (scroll down for Patreon) https://www.lostinthemovies.com/p/film-capsule.html Browse political topics https://www.lostinthemovies.com/p/podcasts-politics.html & random topics (scroll down for Patreon) https://www.lostinthemovies.com/p/podcasts-random.html Visit Lost in the Movies public feed including Patreon previews https://podcasts.apple.com/us/podcast/lost-in-the-movies/id1521758273 (or search for "Lost on the Movies" on your preferred podcast platform) This podcast is powered by Pinecast.

​​Welcome to You Haven't Blanked That! This week, we watched Drugstore Cowboy. We talk about knowing where the movie is going, William S Burrows, James Fogle, the intro, Gus Van Sant's Psycho, Black and White movies, Heroin Bob, James Remar, Matt Dillon's monologues, Dave, Trainspotting, the dog curse, Corey Feldman, other drug movies What we are blanking: Fairytale by Stephen King, Get Out, Friday the 13th, Jaws 2, Once Upon A Studio, Death Cab For Cutie and Postal Service, The State, Strays, Return to Amish, ​​Opening theme by the Assassins ​​Closing theme by Lucas Perea ​​ For more info, click the link in the bio. https://linktr.ee/yhblankthat --- Send in a voice message: https://podcasters.spotify.com/pod/show/blanked-that/message

Episode - 069 - Drugstore CowboyHosts: Clark Coffey & Cullen McFaterJoin us for another discussion, this time about Gus Van Sant's 1989 indie Drugstore Cowboy! Clark discusses his history with the film and emotional connection to it, Cullen remarks at his enjoyment with the spots of humor in the film and much much more!Drugstore Cowboy TrailerDirector: Gus Van SantStarring: Matt Dillon, Kelly LynchSocials:FacebookTwitterInstagram

A kind of mea culpa to David Fincher and Christopher Nolan, the classiness of Peter Cushing, Kelly LeBrock calling me, how not to hold a girl's hand, the amazing and dearly departed Steve James, Vincent D'Onofrio liking me, and Vincent Gallo breaking up a relationship of mine (ok maybe it wasn't a relationship). Stuff mentioned: Fight Club (1999), Panic Room (2002), Star Wars (1977), Forest Lawn Hollywood Hills, Three's Company (1977-1984), Sling Blade (1996), Blame it on Rio (1984), Singin' in the Rain (1952), Charade (1963), Hill Street Blues (1981-1987), St. Elsewhere (1982-1988), Midnight Run (1988), Tron (1982), Voyagers! (1982), The Woman in Red (1984), Weird Science (1985), Sixteen Candles (1984), Nightmare on Elm Street (1984), Hard to Kill (1990), Missing in Action (1984), Missing in Action 2: The Beginning (1985), Delta Force (1986), Invasion U.S.A. (1985), Kinjite (1989), Barfly (1987), American Ninja (1985), The Player (1992), The Brother from Another Planet (1984), Eight Men Out (1988), Lone Star (1996), Blood Simple (1984), Cheers (1982-1993), Drugstore Cowboy (1989), Buffalo '66 (1998), and The Brown Bunny (2003).

Season 18 begins!!! We meet GUS VAN SANT, iconic American film director, producer, painter, photographer and musician. We discuss his deconstructed Mona Lisa series, his friendship with Derek Jarman and how he became a painter in his teens, the lasting influence of his art teacher, and how painting informed his filmmaking!!!Gus Van Sant (b. 1952, Louisville, Kentucky), admired internationally as a filmmaker, painter, photographer, and musician, received his BFA from the Rhode Island School of Design in Providence in 1975. Since that time his studio painting practice has moved in and out of the foreground of a multi-disciplinary career, becoming a priority again over recent years. Van Sant's work in different mediums is united by a single overarching interest in portraying people on the fringes of society.Van Sant's work has been the subject of solo exhibitions at the Musée de l'Elysée in Lausanne, Switzerland, Le Case d'Arte in Milan, Italy, and the Jordan Schnitzer Museum of Art at the University of Oregon in Eugene, among others. He has participated in numerous group exhibitions since the 1980s, presenting drawings, paintings, photographs, video works, and writing. Among Van Sant's many internationally acclaimed feature films are Milk (2008); Elephant (2003); Good Will Hunting (1997); My Own Private Idaho (1991); and Drugstore Cowboy (1989).Van Sant lives and works in Los Angeles.Follow @Gus_Van_SantVisit Gus' gallery @VitoSchnabelGallery: https://www.vitoschnabel.com/projects/gus-van-santFeud: Capote's Women forthcoming TV series will air later this year (starring Talk Art's very own Russell Tovey as John O'Shea, longtime boyfriend of Truman Capote). @RyanMurphyProductions Hosted on Acast. See acast.com/privacy for more information.

Welcome back to the GGtMC!!! This week Will and Sammy discuss Drugstore Cowboy (1989) directed by Gus Van Sant!!! Emails to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/ggtmc/message

Director Gus Van Sant and actor Matt Dillon

I read from drugstore cowboy to drum brake.     The Druids date back to about 2400 years ago! https://en.wikipedia.org/wiki/Druid     The sound of the drum fish came from this video. Of course I have to say that I am not a fan of fishing, but I'm glad it was let go.  https://youtu.be/An-DdyjK6ws     At about 18:22, I said "...people can be whatever gender they want to be..." and I realized later that that was not the right way to say that. It's not that people are not CHOOSING what gender they want to be. It's that they should be allowed to express themselves and change their body to be the gender that they KNOW they are deep down.      The word of the episode is "drum". https://en.wikipedia.org/wiki/Drum     Theme music from Jonah Kraut https://jonahkraut.bandcamp.com/     Merchandising! https://www.teepublic.com/user/spejampar     "The Dictionary - Letter A" on YouTube   "The Dictionary - Letter B" on YouTube   "The Dictionary - Letter C" on YouTube   "The Dictionary - Letter D" on YouTube     Featured in a Top 10 Dictionary Podcasts list! https://blog.feedspot.com/dictionary_podcasts/     Backwards Talking on YouTube: https://www.youtube.com/playlist?list=PLmIujMwEDbgZUexyR90jaTEEVmAYcCzuq     dictionarypod@gmail.com https://www.facebook.com/thedictionarypod/ https://twitter.com/dictionarypod https://www.instagram.com/dictionarypod/ https://www.patreon.com/spejampar https://www.tiktok.com/@spejampar 917-727-5757

Diversion: a cold, technocratic word for when we give, trade or sell our prescribed meds to someone else. A ghost story, whispered among doctors and now, a moral panic, hollered by right wing politicians. But really, everyone's shared their meds. I've done it and I bet you have too – as an act of mutual … Continue reading Episode 37: Drugstore Cowboy →

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

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

Patrick and Adam Riske are a little too Raph.Download this episode here. (48.7  MB) Listen to F This Movie! on Spotify and on Apple Podcasts. Also discussed this episode: M3GAN (2023), A Man Called Otto (2022), Skinamarink (2023), Drugstore Cowboy (1989), Out for Justice (1991), Heavy Metal (1981), Never Die Alone (2004), Sorry About the Demon (2023), Tightrope (1984)

The cult classic film Easy Rider was released this month.  A landmark counter culture movie, the film traces the journey of Wyatt and Billy as they make their way on motorcycles from a successful drug deal in Los Angeles to the Mardi Gras festival in New Orleans.  Peter Fonda, Dennis Hopper, and Terry Southern wrote the film, and it stars Fonda, Hopper, and Jack Nicholson.  Dennis Hopper directed the movie.  Originally the plan was for Crosby, Stills & Nash to do all the songs on the soundtrack.  When the editor plugged in contemporary songs as placeholders, the sound convinced Dennis Hopper to reverse this decision.The Easy Rider Soundtrack was crafted with contemporary late 60's music, and stands out as an excellent example of the music of the counterculture.  Each piece used in the movie was curated with the idea of maintaining the story.  Wayne brings us this forerunner of prog rock and heavy metal. Don't Bogart Me by Fraternity of ManPsychedelic and blues rock band the Fraternity of Man would have their biggest hit with this song.  It recommends generosity with illicit smoking materials.  This song originally appeared on their self-titled debut album in 1968 before being included in this soundtrack.Ballad of Easy Rider by Roger McGuinnBob Dylan was an uncredited contributor on this song.  The Byrds front man Roger McGuinn performed this as a solo work.  It was the only song originally written for this film, and appeared on one of McGuinn's albums later.The Weight by The BandThis song chronicles the experience of a visitor to Nazareth, Pennsylvania, even though much of its influence is from the American South.  Nazareth is the home of Martin guitars, and that is why the lyrics transfer to that location.  Licensing could not be gained for the soundtrack even though it was used in the film, so a group called Smith was used for the soundtrack instead of The Band.Born To Be Wild by SteppenwolfSteppenwolf's most successful single appeared on their debut album in 1968 before being used in "Easy Rider."  Many consider it to be the first heavy metal song, and the lyric "heavy metal thunder" contributes to that.  This song would be used as a motorcycle anthem from this time on. ENTERTAINMENT TRACK:Wasn't Born to Follow by The Byrds (from the motion picture “Easy Rider”)Yes, we get to do a little double dipping with our entertainment track this week. STAFF PICKS:Put a Little Love in Your Heart by Jackie DeShannonRob opens this week's staff picks with a song that hit number 2 on the Billboard Hot 100, and it was used in the film "Drugstore Cowboy."  Jackie DeShannon is best known for the song, "What the World Needs Now is Love."  DeShannon also wrote "Betty Davis Eyes" for Kim Carnes.In the Ghetto by Elvis Presley Brian brings us The King with a poignant song about a child from the dirt street part of town.  Writer Mac Davis was inspired by the story of a friend who grew up in poverty.  Elvis completely identified with this song because of his impoverished upbringing.I Can Sing a Rainbow/Love Is Blue by the Dells Bruce's staff pick is a cover medley of Sing a Rainbow, best known in its 1955 rendition by Peggy Lee, and Love is Blue, originally a French song best known as an instrumental easy listening piece by Paul Mauriat that was a number 1 hit in March of 1968.  the Dells hit number 22 on the US charts with this version during the height of their success between 1966 and 1973.I'd Rather Be an Old Man's Sweetheart by Candi Staton Wayne features a soul hit from Muscle Shoals.  This is Staton's first hit, rising to number 9 on the R&B charts, and number 46 on the pop charts.  Staton is known as the "First Lady of Southern Soul."  "I'd rather be an old man's sweetheart than a young man's fool."  INSTRUMENTAL TRACK:A Boy Named Sue by Johnny CashCash released this novelty song telling the story of a boy who had to grow up tough after his absentee father left him with the name of Sue.

Episode Number 114: ROAD HOUSE (1989)With a Jake Gyllenhaal-starring remake on the horizon, we thought now was a great time to cover 1989's ROAD HOUSE, starring Patrick Swayze (POINT BREAK, DONNIE DARKO), Kelly Lynch (DRUGSTORE COWBOY, VIRTUOSITY), and Sam Elliott (THE BIG LEBOWSKI, TOMBSTONE), and directed by Rowdy Harrington (TALES FROM THE CRYPT, STRIKING DISTANCE).Is this one of the best action movies of the 1980s? Let us know what you think at chrisandchristalkmovies@gmail.comWelcome to Chris & Chris Talk Movies. In this podcast, life-long friends Chris Ferry and Chris Huddleston discuss Sci Fi movies (sometimes the best Sci Fi movies, sometimes not), horror movies (occasionally some of the all time best horror movies…often…not), a few of the very best action movies (I think you see where we're going with this), and genre films from their childhood and beyond in this laid-back, rambling, but inviting series!Rated PG for occasional mature language and alcohol consumption.

Recorded in 1999 for the DVD release. Watch the film on Vudu here.

Drugstore Cowboy

Another week, another new episode of Cinema Spin. This time we have special guest Beth back for another visit and to help us review Prey. Pry is a sequel to the Predator series of films and was released to streaming Aug. 5th, only on Hulu. Then in the second segment of the show we take a fresh look at Drugstore Cowboy from 1989. Thanks Beth and thanks for listening everyone! --- Send in a voice message: https://anchor.fm/matthew-ulrich/message

Today on the show we have legendary film producer Cary Woods. Cary Woods is a film producer best known for producing worldwide blockbusters such as Scream and Godzilla, the beloved independent films Kids, Cop Land, and Gummo, and modern classics like Rudy and Swingers.Woods is also responsible for producing the breakthrough features of such notable directors as James Mangold, Doug Liman, M. Night Shyamalan, Alexander Payne, Harmony Korine, and Larry Clark, as well as the screenwriting debuts of Jon Favreau, Kevin Williamson, and Scott Rosenberg.Woods' filmography features a lineup of A-List actors, including: Robert Downey, Jr., Robert De Niro, Sylvester Stallone, Marisa Tomei, Christopher Walken, Harvey Keitel, Mike Myers, Laura Dern, Heather Graham, Ray Liotta, Burt Reynolds, Drew Barrymore, Matthew Broderick, Courteney Cox, Timothy Hutton, Andy Garcia, Neve Campbell, Sean Astin, Michael Rapaport, Jean Reno, and Steve Buscemi.Born and raised in the Bronx, Woods graduated from the USC Gould School of Law before beginning his career at the William Morris Agency (now WME). As an agent, Woods represented - and in many cases introduced audiences to - the likes of Gus Van Sant, Uma Thurman, Jennifer Connelly, Milla Jovovich, Charlie Sheen, Matt Dillon, Todd Solondz, and most prominently, Gregory Peck.At WMA, Woods also represented many of the industry's most successful stand-up comedians including Sam Kinison, Andrew Dice Clay, Gilbert Gottfried, Sandra Bernhard, Tommy Davidson, and Jackie Mason.After developing the Indie favorites Heathers and Drugstore Cowboy as an agent, Woods accepted a position at Sony Pictures Entertainment (the parent company of Columbia Pictures and TriStar Pictures) as a Vice President - Office of the Chairman, reporting directly to Peter Guber. Woods later segued to a production deal at Sony, resulting in the release of a succession of iconic films, including So I Married An Axe Murderer, Rudy, Only You, and Threesome.After starting his own production company - Independent Pictures - the explosive release of the 1995 cultural phenomenon Kids (starring then-newcomers Rosario Dawson and Chloe Sevigny) began a streak of culturally significant, critically-acclaimed independent films produced by Woods under his banner.The next few years saw the releases of Citizen Ruth (the first film from future two-time Oscar winner Alexander Payne), Beautiful Girls (which introduced American audiences to Natalie Portman), and Swingers (springboarding Vince Vaughn to comedy mega-stardom).His 1996 film Scream (the most successful film of "Master of Horror" Wes Craven's career) marked a turning point for the entire genre, grossing over $170 million and setting a box office record that would stand for 22 years. The film instantly and single-handedly pivoted horror toward postmodernism, spawning a massive billion-dollar franchise (consisting of successful sequels, a TV series, toys, and Halloween costumes), as well as inspiring countless knock-offs in the years since.Gummo - the directorial debut of Kids' screenwriter Harmony Korine - received the FIPRESCI Prize at the 1997 Venice Film Festival. Bernando Bertolucci, the famed director of Last Tango in Paris, praised the film, calling it "The one revolutionary film of the late 20th century."In 1998, the first US-produced entry of the iconic Godzilla film franchise would become Woods' and Independent Pictures' single highest-grossing film, earning nearly $400 million.Woods would go on to serve as co-Chairman, and Chief Creative Officer of Plum TV, in which he was a founding partner. Broadcasting in the nation's most affluent markets (i.e. Aspen, the Hamptons, Miami Beach), the luxury lifestyle network would go on to earn eight Emmy Awards.Enjoy my conversation with Cary Woods.

On a recent trip to the Midwest, Mike stopped in Manchester Iowa, and visited the Franklin Street Brewing Company. The beer was good, so a 4 pack of the top picks in cans made their way back to Pa for an Official Take On The World beer tasting. We enjoyed Drugstore Cowboy, GO USA, Mango Fett, and County Fair Wheat. Website - http://franklinstreetbrewing.com/ Facebook - @FranklinStreetBrewing Twitter - FranklinStBrew Instagram - FranklinStreetBrewCo See how they faired in our opinion. If you could visit any brewery which would it be ... let us know. Drop us a line and tell us all about it at takeontheworld411@gmail.com. We will take on most any topic with Our Take On the World! Take On The World is Part of the Deluxe Edition Network .... Check out The Other Great Shows on our network at http://www.theden.show #TakeOnTheWorld #TheDen #FranklinStreetBrewing #BeerReview On Spotify - https://open.spotify.com/show/4v6bFim YouTube - https://www.youtube.com/channel/UC1oG or Rumble - https://rumble.com/c/c-1178413 --- Send in a voice message: https://anchor.fm/takeontheworld/message Support this podcast: https://anchor.fm/takeontheworld/support

The Behavioral Corner sets up shop this time on Hollywood Blvd. Grace Shober and Maggie Hunt from Retreat Behavioral Health look at how substance abuse and mental health are depicted in films and TV. What does Hollywood get right, and what do they get wrong?--------------The Behavioral Corner Podcast is made possible by Retreat Behavioral Health. Learn more - https://www.retreatbehavioralhealth.com

This week Gary and Iain review and discuss, Drugstore Cowboy (1989) by Director, Gus Van Sant. Starring, Matt Dillon, Kelly Lynch and James Le Gros. For more Off The Shelf Reviews: https://www.youtube.com/channel/UChWxkAz-n2-5Nae-IDpxBZQ/join Podcasts: https://offtheshelfreviews.podbean.com/ Follow us on Twitter: https://twitter.com/@OTSReviews Youtube: https://www.youtube.com/c/OffTheShelfReviews Facebook: https://www.facebook.com/OffTheShelfReviews Support us: http://www.patreon.com/offtheshelfreviews Twitch: https://www.twitch.tv/offtheshelfreviews Discord: https://discord.gg/Dyw8ctf

Episode 8A Notes: The 3 questions, the feel of the episode, director/writer & production context Please rate, review, and/or subscribe on Apple Podcasts to help promote this show! You can explore both public and patron episodes of this podcast here: https://www.lostinthemovies.com/p/lost-in-twin-peaks.html Become a patron at https://www.patreon.com/lostinthemovies to listen to the entire series ahead of the public schedule and access my main monthly podcast as well. For $5/month, all Lost in Twin Peaks episodes are available immediately, including my 12-part coverage of Fire Walk With Me, in addition to exclusive ongoing Twin Peaks Conversations with other commentators as a monthly reward. Episode 0: Introducing the podcast (show format) https://podcasts.apple.com/us/podcast/introducing-the-podcast-show-format/id1588350903?i=1000537195013 The illustrated companion to this week's episodes is https://www.lostinthemovies.com/2021/12/lost-in-twin-peaks-8-season-1-finale.html 0:00 INTRO 5:56 WHAT IS TWIN PEAKS? 7:30 WHO IS AGENT COOPER? 8:36 WHO IS LAURA PALMER? 9:56 THE FEEL OF THE EPISODE 11:34 DIRECTOR & WRITER: Mark Frost 16:42 PRODUCTION CONTEXT 18:30 BONUS: SEASONS GREETINGS from this: https://www.youtube.com/watch?v=kaREG8Xs17I My Journey Through Twin Peaks video essay series is on YouTube (in 36 chapters as of now) https://www.youtube.com/playlist?list=PLIHlB-wesGPVETlNFLsGCKL-SFjW8wrJf & Vimeo (in 5 parts as of now) https://vimeo.com/showcase/7281266 EPISODE LINKS my guest appearance on Twin Peaks Unwrapped for Ronnie Rocket https://podcasts.apple.com/us/podcast/a-very-ronnie-rocket-holiday-special-pt-1/id1005628280?i=1000545480933 (pt. 2 coming soon on the same feed) / Scott Ryan on Twin Peaks Conversations https://www.youtube.com/watch?v=OPj5Yb59LT8 / Sunset Boulevard on Twin Peaks Cinema https://podcasts.apple.com/us/podcast/sunset-boulevard-whats-in-a-name-3/id1587597259?i=1000545036794 / The Devil Rides Out & Brawl in Cell Block 99 https://podcasts.apple.com/us/podcast/double-feature-the-devil-rides-out-brawl-in-cell-block-99/id1521758273?i=1000543675615 / PeaksChatz hosts on Twin Peaks Conversations https://www.youtube.com/watch?v=QMRPq8Q0B-I / Patreon podcast featuring Drugstore Cowboy & more https://www.patreon.com/posts/59283765 / Patreon podcast featuring Field of Dreams & more https://www.patreon.com/posts/59116181 / Patreon update https://www.patreon.com/posts/59009343 / Vertigo on Twin Peaks Cinema podcast https://podcasts.apple.com/us/podcast/vertigo-whats-in-a-name-2/id1587597259?i=1000542203778 MY PREVIOUS DIRECTOR/WRITER LOST IN TWIN PEAKS EPISODES: Pilot https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-1-pilot-s1e1.html / S1E2 https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-2-s1e2-traces-to.html / S1E3 https://www.lostinthemovies.com/2021/10/lost-in-twin-peaks-3-s1e3-zen-or-skill.html / S1E6 https://www.lostinthemovies.com/2021/11/lost-in-twin-peaks-6-s1e6-coopers.html (written by Mark Frost) (the following links may contain Twin Peaks spoilers...) OTHER COMMENTARY ON THIS DIRECTOR & WRITER... (the following links may contain Twin Peaks spoilers) ..from MY OTHER PODCASTS Storyville (written & directed by Frost) https://podcasts.apple.com/us/podcast/films-by-twin-peaks-episode-directors-halloweentown/id1587597259?i=1000536658422 ...from MY VIDEO ESSAYS clips from Storyville & Frost's other work in Journey Through Twin Peaks chapter 35 - The Bookhouse Boy https://www.youtube.com/watch?v=vN-qUgESVGs My other podcasts include: Lost in the Movies https://www.lostinthemovies.com/p/patreon-podcast.html Twin Peaks Cinema https://www.lostinthemovies.com/p/twin-peaks-cinema.html This podcast is powered by Pinecast.

Today on the show we have legendary film producer Cary Woods. Cary Woods is a film producer best known for producing worldwide blockbusters such as Scream and Godzilla, the beloved independent films Kids, Cop Land, and Gummo, and modern classics like Rudy and Swingers.Woods is also responsible for producing the breakthrough features of such notable directors as James Mangold, Doug Liman, M. Night Shyamalan, Alexander Payne, Harmony Korine, and Larry Clark, as well as the screenwriting debuts of Jon Favreau, Kevin Williamson, and Scott Rosenberg.Woods' filmography features a lineup of A-List actors, including: Robert Downey, Jr., Robert De Niro, Sylvester Stallone, Marisa Tomei, Christopher Walken, Harvey Keitel, Mike Myers, Laura Dern, Heather Graham, Ray Liotta, Burt Reynolds, Drew Barrymore, Matthew Broderick, Courteney Cox, Timothy Hutton, Andy Garcia, Neve Campbell, Sean Astin, Michael Rapaport, Jean Reno, and Steve Buscemi.Born and raised in the Bronx, Woods graduated from the USC Gould School of Law before beginning his career at the William Morris Agency (now WME). As an agent, Woods represented - and in many cases introduced audiences to - the likes of Gus Van Sant, Uma Thurman, Jennifer Connelly, Milla Jovovich, Charlie Sheen, Matt Dillon, Todd Solondz, and most prominently, Gregory Peck.At WMA, Woods also represented many of the industry's most successful stand-up comedians including Sam Kinison, Andrew Dice Clay, Gilbert Gottfried, Sandra Bernhard, Tommy Davidson, and Jackie Mason.After developing the Indie favorites Heathers and Drugstore Cowboy as an agent, Woods accepted a position at Sony Pictures Entertainment (the parent company of Columbia Pictures and TriStar Pictures) as a Vice President - Office of the Chairman, reporting directly to Peter Guber. Woods later segued to a production deal at Sony, resulting in the release of a succession of iconic films, including So I Married An Axe Murderer, Rudy, Only You, and Threesome.After starting his own production company - Independent Pictures - the explosive release of the 1995 cultural phenomenon Kids (starring then-newcomers Rosario Dawson and Chloe Sevigny) began a streak of culturally significant, critically-acclaimed independent films produced by Woods under his banner.The next few years saw the releases of Citizen Ruth (the first film from future two-time Oscar winner Alexander Payne), Beautiful Girls (which introduced American audiences to Natalie Portman), and Swingers (springboarding Vince Vaughn to comedy mega-stardom).His 1996 film Scream (the most successful film of "Master of Horror" Wes Craven's career) marked a turning point for the entire genre, grossing over $170 million and setting a box office record that would stand for 22 years. The film instantly and single-handedly pivoted horror toward postmodernism, spawning a massive billion-dollar franchise (consisting of successful sequels, a TV series, toys, and Halloween costumes), as well as inspiring countless knock-offs in the years since.Gummo - the directorial debut of Kids' screenwriter Harmony Korine - received the FIPRESCI Prize at the 1997 Venice Film Festival. Bernando Bertolucci, the famed director of Last Tango in Paris, praised the film, calling it "The one revolutionary film of the late 20th century."In 1998, the first US-produced entry of the iconic Godzilla film franchise would become Woods' and Independent Pictures' single highest-grossing film, earning nearly $400 million.Woods would go on to serve as co-Chairman, and Chief Creative Officer of Plum TV, in which he was a founding partner. Broadcasting in the nation's most affluent markets (i.e. Aspen, the Hamptons, Miami Beach), the luxury lifestyle network would go on to earn eight Emmy Awards.Enjoy my conversation with Cary Woods.

Welcome to the Instant Trivia podcast episode 277, where we ask the best trivia on the Internet. Round 1. Category: People In Entertainment 1: Educated at L.A.'s Lycee Francais and on film sets, this star of "Taxi Driver" graduated from Yale in 1985. Jodie Foster. 2: TV's Ally McBeal, she had viewers concerned about her weight in '98. Calista Flockhart. 3: This country singer of "Shut Up And Kiss Me" and "Passionate Kisses" has kissed off the hyphen in her 1st name. Mary Chapin Carpenter. 4: In 1995 Edgar Bronfman Jr., president of this Canadian distiller, took over Universal Studios. Seagrams. 5: This director left a party at the American embassy in Paris in 1998 after being reminded that he could be arrested. Roman Polanski. Round 2. Category: Kelly Girls 1: She could title her autobiography "I Married a Sweathog" as she is Mrs. John Travolta. Kelly Preston. 2: As runner-up in the first edition of this show, Kelly Wiglesworth won $100,000. Survivor. 3: Former "Baywatch" lifeguard Kelly Packard joined Dean Cain on this TBS series. Ripley's Believe It or Not!. 4: Hayley Vaughan Cortlandt McIntyre Santos Santos on "All My Children", she now has a talk show gig. Kelly Ripa. 5: She's best known for her role as Matt Dillon's wife in "Drugstore Cowboy". Kelly Lynch. Round 3. Category: Trails 1: It's an assortment of nuts, seeds and dried fruits eaten by hikers. Trail mix. 2: You'd have to walk over 2,000 miles to go end to end on this east coast national scenic trail. Appalachian Trail. 3: The trail of Daniel Boone's Wilderness Road took it through this famous gap. Cumberland Gap. 4: From the Dutch for a "track", it's a trail left by an animal. Spoor. 5: The Wonderland Trail circles this Washington peak. Mount Rainier. Round 4. Category: The Atlantic Ocean 1: This expensive treat may be the eggs of the north Atlantic lumpfish; read the label!. Caviar. 2: Of the Earth's oceans, the Atlantic ranks here in size. Second. 3: In 1932 she crossed the Atlantic alone in 13 hours, 30 minutes. Amelia Earhart. 4: In July 1866 one of these was laid across the Atlantic by the Great Eastern Steamer. Cable. 5: This "sea" that lies between the Azores and the West Indies is named for the brown gulfweed floating in it. Sargasso Sea. Round 5. Category: Acts Of Congress 1: Britain couldn't afford to pay cash for war materials much longer, so FDR proposed this alliterative act in December 1940. the Lend-Lease Act. 2: Britain couldn't afford to pay cash for war materials much longer, so FDR proposed this alliterative act in December 1940. the Lend-Lease Act. 3: 1930's Smoot-Hawley Act raised these to protect American farmers. tariffs. 4: (I'm Geoffrey Canada, President of the Harlem Children's Zone.) Setting standards and establishing measurable goals to improve individual outcomes in education was the objective of this 2001 congressional act that left many educators dismayed. No Child Left Behind. 5: In 1893 the anti-mangling activism of Lorenzo Coffin got Congress to mandate the air type of these on railroad cars. brakes. Thanks for listening! Come back tomorrow for more exciting trivia!

Recent Releases: A Man Named Scott (2021), Spencer (2021), Finch (2021) Chris' Top 3: Lucy (2014), A Face in the Crowd (1957), Stranger Than Paradise (1984) Fulton's Top 3: Swamp Thing (1982), Raising Arizona (1987), Johnny Mnemonic (1995) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

After working together for 25 years, cinematographer Robert Yeoman, ASC and director Wes Anderson share a similar aesthetic and creative process. Bob finds he can anticipate what Anderson wants to see and exactly how he wants to shoot things. The trademark of a Wes Anderson movie is a sense of humor and whimsy, and each film has a distinct color palette that deliberately tells a story. Both Bob and Anderson love the symmetrical style of Kubrick movies, but the symmetry in the frame of Anderson's films draw on comic elements rather than those of horror. Anderson is involved in all the decisions on art direction, choices of textures, colors, costume, hair and makeup, testing many of his choices on film before making a decision. During their very long prep period, Anderson will make an animatic of the entire movie before the shoot, and try to match the reality to the animatic as much as possible. Bob finds this incredibly helpful, since Anderson's movies are very complex- many shots are oners and use complicated dolly movies. In the movie The French Dispatch, Bob and Anderson had planned on shooting at least one section in black and white. They fell in love with the black and white stock, so Bob ended up shooting a lot more than they had originally planned. Anderson also decided to mix three aspect ratios in the film to delineate different time periods and different stories, which Bob thought wouldn't work very well, but ended up liking the end result. On every movie he makes, Anderson has a library of DVDs, photo books and research books that are available for the cast and crew to borrow. Naturally, for The French Dispatch, French movies were often referenced. It made it easy for Bob to have a shorthand way to communicate with Anderson on which French film they were emulating for framing, lighting and aspect ratio. The 1989 film, Drugstore Cowboy, directed by Gus Van Sant, helped Bob make his name as a cinematographer. He used a much looser style, with the camera reacting to the actors rather than carefully planned out movements such as those favored by Wes Anderson. Bob found it a pleasure working with Van Sant, who is more of an experimental filmmaker, and from the moment he read the script for Drugstore Cowboy, he loved it. Bob's work on the comedies Bridesmaids, Ghostbusters (2016), and Get Him to the Greek also presented him with a different challenge- everything is cross shot with multiple cameras because so much of those movies are improvised. On both Bridesmaids and Ghostbusters, director Paul Feig's style is to allow the actors freedom to do what they like, and as the cinematographer, Bob let them have the space and simply moved with them, lighting in a more generalized way. The French Dispatch opens in theaters on October 22. Find out even more about this episode, with extensive show notes and links: http://camnoir.com//ep144/ Sponsored by Hot Rod Cameras: www.hotrodcameras.com Sponsored by Assemble: Assemble has amazing production management software. Use the code cinepod to try a month for free! https://www.assemble.tv/ Be sure to watch our YouTube video of Nate Watkin showing how Assemble works! https://youtu.be/IlpismVjab8 Sponsored by Aputure: https://www.aputure.com/ The Cinematography Podcast website: www.camnoir.com YouTube: https://www.youtube.com/c/TheCinematographyPodcast Facebook: @cinepod Instagram: @thecinepod Twitter: @ShortEndz

In this meeting, we discuss Drugstore Cowboy (1989). Next time, we will be discussing Death on the Nile (1978).

Imprint Companion is the only podcast on the Australian Internet about "DVD Culture."Hang onto your slipcases because Alexei Toliopoulos (Finding Drago, Total Reboot) and Blake Howard (One Heat Minute) team up to unbox, unpack and unveil upcoming releases from Australia's brand new boutique Blu-Ray label Imprint Films. This is the third episode of the September 2021 Imprint Films drop, and we're talking: David Lynch's The Straight Story (1999), Terrence Malick's Days of Heaven (1978), Gus Vant Sant's Drugstore Cowboy (1989) and Space 1999 – The Complete Series ULTIMATE EDITION – BLU RAY IMPRINT TELEVISION.The Straight Story (1999)Richard Farnsworth (MISERY, THE NATURAL) stars as Alvin Straight — a no-nonsense man who has never been one to lean on others. Now at an age when his eyesight denies him the ability to drive and walking is accomplished only with the help of two canes, Alvin lives a quiet life with his daughter Rose (Sissy Spacek). But when the call comes that Alvin's estranged brother Lyle (Harry Dean Stanton, THE GREEN MILE) has suffered a debilitating stroke, Alvin embarks on a dangerous and emotional journey to make amends.Directed by David Lynch (Blue Velvet) and based on a true story that captured the hearts of America.Special Features and Technical Specs:1080P High definition presentation from the restored 4k masterNew Audio Commentary by Film Critic Peter Tonguette (2021)New producer/editor featurette (2021)New featurette on the score (2021)New production design featurette (2021)New Visual Essay by filmmaker, writer and programmer Ian Mantgani (2021)English Dolby Digital 2.0 Surround / 5.1TrailerEnglish subtitlesLimited Edition slipcase on the first 2000 copies with unique artwork.This is a pre-order title and will be dispatched in the week leading up to its release date. Special features and artwork subject to change.Imprint Collection # 61Days of Heaven (1978)A story of a group of early 20th century itinerant workers who find themselves entangled in a deadly love triangle. Starring Richard Gere, Brooke Adams, Sam Shepard, and Linda Manz.Director Terrence Malick's follow up to Badlands is an exquisitely photographed story and has since become one of the most acclaimed films of its decade.Special Features and Technical Specs:1080P High definition restored digital transfer, supervised and approved by director Terrence MalickNew Audio Commentary by film scholar Adrian Martin (2021)New editor featurette (2021)New composer featurette (2021)New Visual essay on Linda Manz by filmmaker Chris O'Neill (2021)English Dolby Digital 2.0/5.1TrailerEnglish subtitlesLimited Edition slipcase on the first 2000 copies with unique artwork.This is a pre-order title and will be dispatched in the week leading up to its release date. Special features and artwork subject to change.Imprint Collection # 62Drugstore Cowboy (1989)Bob Hughes (Matt Dillon) is the leader of a “family” of drug addicts consisting of his wife, Dianne (Kelly Lynch), and another couple who feed their habit by robbing drug stores as they travel across the country. After a tragedy befalls a member of his group, Bob decides he must leave his dysfunctional clan and go straight. Parting ways with his junkie past proves more difficult than expected when Bob is stalked by an old acquaintance looking to score drugs at any price.Directed By Gus Van Sant (Good Will Hunting) and based on the autobiographical novel by James Fogle.Special Features and Technical Specs:1080p High definition presentationVintage Making-of documentaryNew Visual essay by filmmaker Chris O'Neill (2021)New featurette on Gus Van Sant (2021)New composer featurette (2021)New writer featurette (2021)New actor featurette (2021)Theatrical TrailerEnglish Dolby Digital 2.0Optional English subtitlesLimited Edition slipcase on the first 2000 copies with unique artwork.This is a pre-order title and will be dispatched in the week leading up to its release date. Special features and artwork subject to change.Imprint Collection # 64Space 1999 – The Complete Series ULTIMATE EDITION – BLU RAY IMPRINT TELEVISIONNOW, SPACE: 1999 CAN BE SEEN AS NEVER BEFORE WITH EVERY EPISODE DIGITALLY RESTORED FROMTHE ORIGINAL 35MM ELEMENTS, WITH AN UNRIVALED COLLECTION OF SPECIAL FEATURES ALL, BROUGHTTOGETHER IN THIS ULTIMATE EDITION FEATURING DELUXE HARD-BOX PACKAGING.Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & Total RebootVisit imprintfilms.com.au Support this podcast at — https://redcircle.com/imprint-companion/donations

Esta semana en nuestra “Sección principal” hablamos del director Gus Van Sant cuya rica filmografía está repleta de obras heterogéneas de una extrema diversidad como “Drugstore Cowboy”, “Mi Idaho privado”, “El indomable Will Hunting”, “Elephant”, ”Last Days” o “Mi nombre es Harvey Milk” entre otras. En la sección “El verso libre” vuelvo a traer a esa mujer admirable y legendaria que fue la cantautora, pintora, escultora, bordadora y ceramista chilena Violeta Parra con otro de esos himnos que ella cantaba. En esta ocasión le toca el turno a “La Jardinera” el tema que creo mano a mano con su hija Isabel Parra allá por 1954. En la sección “A golpes de realidad” os traigo toda la actualidad social y política de la semana a través de nuestro bloque dedicado a la violencia de género, nuestro apartado de violencia hacia los menores, el bloque internacional o la actualidad política patria repleta de corrupción política y de terrorismo de estado. Finalmente en la sección “¿Qué fue de?” retomo esta semana el tema de la segregación racial en USA, tema largamente comentado en esta sección en la que he tratado a varios hombres y mujeres que son símbolos en la lucha. En esta ocasión os hablo de Linda Brown, la niña que acabó con la segregación racial en los colegios de Estados Unidos. Tiempos: Sección principal: del 00:02:35 al 02:01:49 Sección “El verso libre”: del 02:03:38 al 02:07:12 Sección “A golpes de realidad”: del 02:07:54 al 04:44:51 Sección “¿Qué fue de?”: del 04:45:59 al 05:22:03 Presentación, dirección, edición y montaje: Asier Menéndez Marín Diseño logo Podcast: albacanodesigns (Alba Cano) Diseño logo Canal: Patrick Grau Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

This week, Andrew catches up on a couple films he regretted missing around award's season with "All the Money in the World", and "Loveless". One of Andrew's favorites from his youth, "Drugstore Cowboy", is streaming on Amazon and Hulu, so that got another viewing.  Jess and Andrew revisit the beginnings of the French New Wave with "The 400 Blows". The wheel landed on the beautiful, but confusing "Cloud Atlas", which was still a step up from "Irreversible".  AndrewWatchesMovies.com Film diary:  https://letterboxd.com/andrewmartin/films/diary/ Twitter: https://twitter.com/AndrewWatchesTV Moses's Soundcloud: https://soundcloud.com/user-298402626 Mike Dietrich's Instagram:  https://www.instagram.com/mike.dietrich.art/

Heather Graham had stories she wanted to see made and roles she wanted to play, so she took them into her own hands. As she releases her directorial debut, Half Magic, which she also wrote, Heather talks with Marc about David Lynch, meditation, Drugstore Cowboy, Boogie Nights, and the relevance of her new movie as Hollywood reckons with industry-wide abuse allegations. Also, comedian Sebastian Maniscalco returns to talk about his new book and the success he's achieved since his last appearance in the garage six years ago. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

James Le Gros, the longtime actor known for his roles in movies such as Drugstore Cowboy and Living in Obilvion joins us this week to talk about the freedom of not knowing what's next and why it's important, even after being credited on over 100 TV shows and films, that he still gets nervous. The two also share some of their best stories, including Brian's first meeting with Pat Riley and the night James attended a dinner party with Werner Herzog. Plus, we run James' name through the 'Six Degrees of Kevin Bacon' generator, discuss why bitterness is the enemy as an artist, and why it's important to never face the facts.   Topics this week:  Drugstore Cowboy Living in Oblivion Justified Six Degrees of Kevin Bacon The People vs. Larry Flynt One Flew Over the Cuckoo's Nest Amadeus Citizen Kane The Seventh Seal Diner The Last Winter Harold and Maude WNYC's Here's the Thing with Julianne Moore Barry Lyndon Leather Jackets The Winter of Frankie Machine a novel by Don Winslow She Needed Me a novel by Walter Kirn Blood Will Out: The True Story of a Murder, a Mystery, and a Masquerade by Walter Kirn Eyes Wide Shut Grizzly Man The White Diamond The Street Lawyer South Coast Repertory A Beautiful Mind Frost/Nixon Ally McBeal Safe Mildred Pierce Girls Tiny Furniture Where the Day Takes You Gun Crazy Johnny Suede The People Garden Scotland, PA.   People this week:  Milos Forman Ruth Gordon Ralph Moratz Mario van Peebles Cary Elwes Gus Van Sant Brad Pitt Martin Scorsese Robert De Niro Timothy Treadwell Russell Crowe Kerry Bishe George Clooney Pat Riley Tony Robbins Ron Perlman Todd Haynes Kathryn Bigelow Lena Dunham Will Smith Drew Barrymore Catherine Keener   Twitter: @briankoppelman Email: themomentbk@gmail.com Rate us on iTunes: itunes.com/themoment   This episode of The Moment is sponsored by Stamps.com. Buy and print official U.S. postage using your own computer and printer, and save up to 80 percent compared with a postage meter. Sign up for a no-risk trial and a $110 bonus offer when you visit Stamps.com and use the promo code MOMENT. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

In a crossover Filmspotting/SVU episode, Matt and Alison discuss Sarah Polley's new film available on demand, "Take This Waltz," and share their Top 5 Infidelity Movies you can get via streaming. Plus, the Listener's Choice discussion of Gus Van Sant's "Drugstore Cowboy." Learn more about your ad choices. Visit megaphone.fm/adchoices