Podcast appearances and mentions of ed gale

In this episode Brian with a B and Amferny talk about the 1986 Marvel/New World Pictures movie, Howard the Duck. This movie is directed by Willard Huyck and stars Lea Thompson, Jeffrey Jones, Tim Robbins, Ed Gale and Paul Guilfoyle. Enjoy the story of an alien duck from another planet who comes to Earth to find interspecies love and fight alien overlords. This movie is available on Xfinity, Tubi, Amazon Prime, Apple TV, Vudu, Google Play and YouTube. Instagram Links: Follow Lea Thompson @lea_thompson Follow Tim Robbins @timrobbinshere Follow Ed Gale @real.ed.gale The podcast art is by @delasernaxtattoos on Instagram and has been revised by rodrick_booker on Fiverr. If you like what you're hearing subscribe and comment on our Instagram @berated_b_rated_movies, Facebook @Berated B RatedMovies and Tik Tok @berated_b_rated_movies. Check out our website at Beratedbratedmovies.com. If you have any comments or movie suggestions please send them to beratedbratedmovies@gmail.com

This week in Myopia Movies, we have a bit of a musical moment! We watched O Brother, Where Art Thou?, I too am a man of constant sorrow, with knees and a lower back of constant sorrow as well.  How does O Brother, Where Art Thou? hold up? Host: Nic Panel: Nur, Matthew, Keiko   Directed by Joel Coen and Ethan Coen Starring: George Clooney, John Turturro, Tim Blake Nelson, John Goodman, Holly Hunter,  Chris Thomas King, Charles Durning, Michael Badalucco, Ed Gale, Frank Collison

This week in Myopia Movies, we have a bit of a musical moment! We watched O Brother, Where Art Thou?, I too am a man of constant sorrow, with knees and a lower back of constant sorrow as well.  How does O Brother, Where Art Thou? hold up? Host: Nic Panel: Nur, Matthew, Keiko   Directed by Joel Coen and Ethan Coen Starring: George Clooney, John Turturro, Tim Blake Nelson, John Goodman, Holly Hunter,  Chris Thomas King, Charles Durning, Michael Badalucco, Ed Gale, Frank Collison

National Cuban sandwich day.  Entertainment from 2010.  Christopher Columbus arrested and sent back to Spain, East Tennessee suceeded from East Tennessee, Largest tank battle in world history ended. Todays birthdays - Gene Kelly, Tex Williams, Barbara Eden, Rudy Lewis, Keith Moon, Rick Sprinfield, Shelly Long, Jimi Jamison, Ed Gale, Jay Mohr, River Phoenix, Scott Caan.  Rudolph Valentino died.   State of Franklin Flag used for todays podcast coverIntro - Pour some sugar on me - Def Leppard    https://defleppard.com/The Cuban sandwich - Barrence Whitfield and Tom RussellLove the way you lie - Eminem  RihannaAll about tonight - Blake SheltonIt wasn't god who made honky tonk angels - Kitty WellsBirthdays - In da club - 50 Cent    https://www.50cent.com/Singing in the rain - Gene KellySmoke smoke smoke - Tex WilliamsUp on the roof - The DriftersMy generation - The WhoJesse's girl - Rick SpringfieldCheers TV themeHigh on you - SurvivorExit - Its not love - Dokken    https://www.dokken.net/

Howard the Duck was a pet project for George Lucas, who, upon realizing that doing a live-action adaptation with a CGI lead wasn't going to work, lost interest and handed it over to Will Huyck and Gloria Katz, who wrote American Graffiti with Lucas. This was just the beginning of a long mess of a production, leading to one of the biggest Blockbuster Bombs of all time. Starring Lea Thompson, Ed Gale, Chip Zien, Tim Robbins, Jeffrey Jones (ugh), Liz Sagal, Dominique Davalos, Holly Robinson, David Paymer, and the voice of Richard Kiley. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Ever had an unexpected moment of disgust jolt you from your comfort zone? That's exactly what happened when I stumbled upon the eerie confession of actor Ed Gale. Listen as I lay bare the sordid details of this scandal, expressing my revulsion at his explicit online behavior with someone he believed to be a minor. The gravity of this issue serves as a stark reminder of the lurking dangers of online predators and the urgency to safeguard our children.But, hey, life isn't always a grim tale. Buckle up, because we're heading into a truly bizarre air travel story! Picture this: a Delta flight en route from Atlanta to Barcelona, forced to reroute for the most peculiar reason - a passenger's diarrhea! We explore the mayhem, ponder over possible biohazards, and the FAA's role in this smelly saga. And to round off this episode, let's take a trip down memory lane as I reminisce about the classic movie, Phantasm. Tune in for an episode that's a rollercoaster of emotions, right from shock and disbelief to laughter and nostalgia!To contact The Jose Show click on the link below and see all the social media sites I am on.https://linktr.ee/thejoseshowJose Roldan IMDb: http://imdb.me/JoseARoldanJr   Articles from the showEd Gale: https://ktla.com/news/local-news/chucky-spaceballs-actor-admits-on-video-to-trying-to-meet-minors-for-sex/Delta Diarrhea: https://nypost.com/2023/09/04/delta-flight-forced-into-emergency-landing-by-passengers-diarrhea/Support the show

National cuban sandwich cay. Entertainment from 1978. Columbus arrested, Largest tank battle ever ended, Largest frong on earth discovered.. Todays birthdays - Gene Kelly, Tex Williams, Barbara Eden, Rudy Lewis, Keith Moon, Rick Springfield, Shelly Long, Jimi Jamison, Ed Gale, River Phoenix, Jay Mohr, Scoot Caan. Rudolph Valentino died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/The cuban sandwich - Barrence Whitfield with Tom RussellThree times a landy - The CommadoresTalking in your sleep - Crystal GayleIt wasn't god who made honky tonk angels - Kitty WellsBirthdays - In da club - 50 Cent http://50cent.com/Singing in the rain - Gene KellySmoke Smoke Smoke - Tex WilliamsUp on the roof - The DriftersWont get fooled again - The WhoJessie's girl - Rick SpringfieldCheers Tv theme songHigh on you - Survivorhttps://coolcasts.cooolmedia.com/show/history-factoids-about-today/

59-year-old Ed Gale admitted to soliciting photos from a boy he believed to be 14. Ed Gale, the actor who played Chucky in the 1988 horror film Child's Play, admitted to having sexually explicit online conversations with a boy he thought was 14 when he was caught in a sting operation by the child advocacy group Creep Catchers Unit. The Southern California-based group, which enlists adults to pose as minors to coordinate meetings with potential predators, confronted Gale at his Hollywood apartment, local reports say. The 59-year-old actor admitted to soliciting child pornography from the supposed child with the intention of “hooking up.” By his own estimations, Gale said he may have spoken with 10 other underage victims.

In this episode we talk about the actor who played Chucky in Childs Play..NO PUN INTENDED..He goes by the name of Ed Gale. He recently admitted to talking to 10 under age children over the internet. He's currently under investigation. Shoutout to The Rightful Exposers for exposing Ed Gale. Go check them out on Instagram. They can fill you in more on what's going on with Ed Gale Then Audie goes off on how Elvis Presley was a big piece of shit when it came to grooming his 14 year old wife when he was 24 years old. Darin informs Audie on how Nickelodeon wasn't all it was cracked up to be. Find out more and tune into this episode... --- Support this podcast: https://podcasters.spotify.com/pod/show/dont-blame-us/support

It's High Five Day, it's also 420, Jonathan Majors is being canceled after being accused of domestic violence, Ed Gale (the actor who played Chucky) may have been caught preying on children,  Americans spent 30 million dollars on legal marijuana products, the best cities for stoners, the best cities to get stoned in, the A's might be moving to Vegas, and Vinnie reads your texts!

Ed Gale is an actor known for his performances in various movies and TV shows. He is best known for his work as the stunt double for Chucky in the "Child's Play" franchise. Other notable roles include playing Howard the Duck in the 1986 film of the same name and appearing as one of the Oompa Loompas in the 2005 film adaptation of "Charlie and the Chocolate Factory." Ed Gale, now age 59, has recently made headlines and is under investigation after admitting on camera to sexting minors. PTM Ed Gale Live Interview: https://www.youtube.com/live/tYSgyb_oreU?feature=share Subscribe to our YouTube channel: https://bit.ly/3cszafo Official PTM merch: http://www.iwantraw.com Follow PTM on social media: Twitch: http://www.twitch.tv/poundingthemeat TikTok: http://www.tiktok.com/@poundingthemeat Facebook: http://www.facebook.com/poundingthemeat Instagram: http://www.instagram.com/poundingthemeat Twitter: http://www.twitter.com/poundingthemeat #chucky #edgale #exposed

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

Diego and Brad chat with long time actor Ed Gale! From the ever popular "Howard the Duck" to "Chucky" "Bill & Ted's" "Weird Science" and many more, Mr. Gale is a breath of fresh air with his take on the industry. We assure you the hour is not long enough to chat about all the things this talented man has done and is continuing to do! We chat, uninterrupted, about the ins and outs and the seriousness of what it takes to make it in Hollywood. Like our Podcast? Wanna Support with a Donation of any size?venmo - @BradAshtenWe thank you for your patronage & Keeping the arts alive!Audio Engineered by Britton SparkmanTheme Music by Evan Michael HartCover Art & Logos by Sam Weller

As a bonus, we pull out an interview Scott did with Ed Gale, the man in the Howard suit, from 2018.If you like what we do, please leave a review and check out out Patreon - www.patreon.com/20cgmedia

We finally get the duck out and tackle the 80s classic Howard the Duck!! This George Lucas produced film; starring Lea Thompson, Tim Robbins, Jeffrey Jones, and Ed Gale; has its place in movie history. From his introduction in Adventure Into Fear alongside Man-Thing in 1974 to his own movie in 1986; Howard has experienced having his own titled comic becoming one of the best selling comics of the 80s to having his self-titled movie being considered one of the worst movies ever made. Follow us on social media... Facebook: facebook.com/movingpanels Twitter: twitter.com/movingpanels Instagram: instagram.com/movingpanels TikTok: tiktok.com/@movingpanels Email the show to discuss suggestions or let us know how we're doing at movingpanels@gmail.com Soundtrack: "Reload" by Alchemorph --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/movingpanels/message Support this podcast: https://anchor.fm/movingpanels/support

Before the MCU Iron Man, before Sam Raimi's Spider-Man, even before Roger Corman's Fantastic Four, there was one project that can truly claim to be the very first Marvel feature ever. And that little movie is called Howard the Duck. It was a box office bomb for the ages, but it also has its fans. And one of them is film critic Ashley Walker. A talking, child-sized waterfowl gets accidentally sucked into our dimension. And there he finds himself in a situation where he has to save the world. Or can he wisecrack himself out of that one? Howard gets help from a young musician, played by Lea Thomson, and from future Oscar winner Tim Robbins. Podguest Ashley almost surprises themself by how how much they know about this movie. And there are a lot of fun trivia to sink our teeth into. Even now, new stories keep cropping up about Howard the Duck and its disastrous production. And then we haven't even gotten into all of the awful duck puns... We also discuss Ashley's recently found affection for Doctor Strange, Martin Scorsese versus the Marvel Cinematic Universe and why there even exists a 70mm print of Howard the Duck. Hey, do you want to support this podcast? Visit our Patreon page! Links: Ashley's review website, A Sinister Opinion: https://asinisteropiniondotcom.wordpress.com/  Ashley on Letterboxd: https://letterboxd.com/kaw143/  Extra links: George Lucas in Love: https://www.youtube.com/watch?v=mZ49Smi2SLQ  Honest Trailers | Howard the Duck: https://www.youtube.com/watch?v=sk_VGwFDA2g  The Origin and History of Howard the Duck: https://www.youtube.com/watch?v=iiePBdWDZUk  The Making of Howard the Duck: https://www.youtube.com/watch?v=WRGB2usvX1k 

Had an awesome time interviewing Ed Gale who has been in ove 130 television shows, movies and commercials.  Ed Gale is best know for playing Howard the Duck and Chucky from Child's Play.  Ed was also Dink in Spaceballs!  Ed has a fun spirit and is full of life.  I hope you enjoy this interview.  There are a few places in the interview that his audio is kinda gibberish due toi connection.  Please share with family and friends.Contact The Jose Show:email: mailto:zhills411@gmail.comWebsite: https://www.thejoseshow.com/Facebook Page: https://www.facebook.com/TheeJoseShow/Facebook Group: https://www.facebook.com/groups/245183956892567/Twitter: https://twitter.com/joseroldanjrInstagram: https://www.instagram.com/thejoseroldanTo Reach Ed Gale:Instagram: https://www.instagram.com/real.ed.gale/Facebook: https://www.facebook.com/Real.Ed.GaleEd's Autograph Store: https://raccsigningsauthentics.com/search?q=ed+gale&options%5Bprefix%5D=lastSupport the show (https://paypal.me/jar1972?locale.x=en_US)

For the first time, we accidentally watched a non-Turd on Turd Night. Meaning = we DON’T recommend watching this movie! Which movie? Howard the Duck. Yikes. Unless you love to be punished with duck puns and disturbing Duck/Human relationships. This week on Turd Night, we talk about a snake named Steven, Ed Gale’s Hollywood dreams, duck boobs, Howard the Duck’s wallet condom, and George Lucas’ biggest regret of his career. Email us your Turd Night movie suggestions at turdnight@gmail.com Follow us on Instagram @turdnight --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/turdnight/message Support this podcast: https://anchor.fm/turdnight/support

COVIDleaf Radio's (Cloverleaf) host, "The Host with the Most" "The King of the Quarantine" welcome Actor/Stuntman, Ed Gale! Ed left his hometown two years after graduating from Plainwell High School (Plainwell, Michigan) at the age of 20 with $41 in his pocket and hitched a ride California to pursue his dream of being not a "star", but a steady working Hollywood "actor". His very first experience in the "biz" was auditioning for and subsequently winning the lead role of Howard The Duck. Initially he was told "you are too tall" (he keeps that letter readily available in his living-room and often refers to it with a humble smile). Early in his career, Ed had performed many of his own stunts such as being run over by a big rig, flying on wires, fight scenes, being tossed, thrown & dropped great distances, and crashing through the windshield of a moving vehicle. However, his most impressive stunts just might be his Full Body Burns in the first Child's Play movie and his Full Body Burn while "flying" on wires in Leprechaun 3. Ed Gale has appeared in over 130 Television Shows, Films, and Commercials to date; playing some of Hollywood's most famous (and infamous) characters such as "Howard" in the movie Howard The Duck; "Chucky" in Child's Play, Child's Play 2, and the Bride of Chucky; "Birdie the Early Bird" in one of the very few McDonland's commercials in which "Birdie" actually flew; "Tasha" (the baby dinosaur in the ABC Saturday morning kids show The New Land of the Lost; and the "The Mole" in The Adventures of Rocky and Bullwinkle. Other popular films to Ed Gale's credit include; Bill & Ted's Bogus Journey, Mom & Dad Save the World, and the Christmas Holiday Hit: the Polar Express. Out of Costume, Ed has played some rather notable "human" roles as well; "Hank Tarver" (The District), "Oscar" (3rd Rock from the Sun), "Stan" (Santa, Jr.), "Benson" (Call Me Claus), "Mr. Larry Briggs" (The Hughley's), "Jimmy" (Just Shoot Me), and "Baby Jesus" (Grounded for Life). Ed is probably most recognized for his roles as "Lavalle" (Bones), "Little Prisoner" (My Name is Earl), "Simon McKay" (Baywatch) and as the "Little Man" (O Brother, Where Art Thou?) Ed has starred, co-starred, & guest starred along side of some of the biggest names in Hollywood, the likes of which include: Lea Thompson, Kym Whitley, John Candy, Mel Brooks, Keanu Reeves, Catherine Hicks, Tom Hanks, George Clooney, Matthew McConaughey, Ray Liotta, Charlton Heston, Billy Bob Thornton, Jeffrey Jones, Teri Garr, Hal Sparks, Holly Robinson-Peete, Caroline Rhea, Emily Deschanel, David Boreanaz, Bobby Lee and many, many more! Ed Gale is no stranger to Television Commercials either, pitching such products as: Burger King, Toys R US, Cingular Wireless, Best Buy, Progressive Insurance, Nike, I Can't Believe It's Not Butter (with Fabio), Kinko's, Twisted Metal 4, Taco Bell, Polaroid Cameras, Snapple, McDonald's, Holiday Inn, Nissan Cars (Japan), California Eggs, & Sony Video. (just to name a few!) --- Support this podcast: https://anchor.fm/jianetwork/support

Born on this Day: is a daily podcast hosted by Bil Antoniou, Amanda Barker & Marco Timpano. Celebrating the famous and sometimes infamous born on this day. Check out their other podcasts: Bad Gay Movies, Bitchy Gay Men Eat & Drink Every Place is the Same My Criterions The Insomnia Project Marco's book: 25 Things I Wish I Knew Before I Started My Podcast Celebrating birthday's on this day: River Phoenix, Barbara Eden, Shelley Long, Joanne Froggatt, Chris Potter. Kobe Bean Bryant, Scott Caan, Vera Miles, Gene Kelly, Andrew Rannells, Chan-wook Park, Jay Mohr , Ed Gale, Rick Springfield, Bolaji Badejo, Kobe Bryant, Alexandre Desplat, Roger Avary, Lexi Alexander, Marian Seldes, --- Send in a voice message: https://anchor.fm/born-on-this-day-podcast/message

No episódio do QueIssoAssim de hoje vamos relembrar um dos piores filmes da nossa infância e um dos piores filmes baseados em quadrinhos de todos os tempos: Howard – O Super-Herói. Brunão, Miotti e Zitos recebem o patrão Rafael Antunes para tentar lembrar porque o Zitos ainda acha esse filme fantástico. FICHA TÉCNICA DO FILME Mandem cartinhas e coisinhas para nós:Portal RefilCaixa Postal 4450CEP 70842-970Brasília-DF Seja um Patrão do Portal Refil Patreon Padrim Picpay ASSINE O FEED Feed iTunes Google Podcasts

Welcome back to purgatory!!! This Week Mike, Tron and Jeremy talk two flicks suggested to us by our bud Fabiano Lebouef!!! First we cover Howard the Duck from 1986!!! Directed by Willard Huyck!!! Staring Leah Thompson, Ed Gale, Tim Robbins and Jeffrey Jones!!! Second we run with Lola in 1998's Run Lola Run Directed by Tom Tykwer!!! Staring Franka Potente, Moritz Bleibtreu and Herbert Knaup!!!!   Huge thanks to Jeannette Adriulli for our incredible logo!!! Go to https:jeannettecreations.com/ to see her beautiful work.Thanks everyone so much for listening! Find our group page on Facebook and instant message us for any feedback you'd like to send.Our email is PCPpodcast666@gmail.com Outro song "Hunger City" By The Cherry Bombs https://youtu.be/9DV6FbqVGVY Break music "Believe" From the Run Lola Run soundtrack  https://youtu.be/wJzYHMBqF6Y  

Special Guest Taylor Claussen joins hosts Chad Robinson and Russell Guest for the Retro Movie Roundtable as they revisit O Brother, Where Art Thou? (2000) [PG-3] Genre: Adventure, Comedy, Crime   Starring: George Clooney, John Turturro, Tim Blake Nelson, John Goodman, Holly Hunter, Chris Thomas King, Charles Durning, Del Pentecost, Michael Badalucco, J.R. Horne, Brian Reddy, Wayne Duvall, Ed Gale, Ray McKinnon, Daniel von Bargen   Director: Joel Coen Recoded on 2019-11-16   Download from Apple Podcasts, Stitcher, Spotify, Google Play, iTunes, iHeartRadio or wherever you get your podcasts. Like the show on Facebook. Please share your thoughts on the movie or the Episode....

This week Invasion of the Remake enters the Marvel Universe with its first feature film from executive producer George Lucas, Howard the Duck (1986)! This maligned water fowl gets a bad rap and we think with his recent cameos in Guardians of the Galaxy and Avengers: Endgame that it is time to revisit this cult classic starring Lea Thompson, Jeffrey Jones, Tim Robbins, Ed Gale, and Chip Zien. You don't want to miss our take on how to bring back Howard the Duck to the big screens complete with our own fantasy casting.   Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Google Play Music, Stitcher, PlayerFM, Tune In Radio, RadioPublic, BluBrry, Libsyn, YouTube, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. Follow us on Twitter: @InvasionRemake Like and share us on Facebook & Instagram: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com Get an even better deal on the best seat prices for concerts and sporting events at SeatGiant.ca using our promo code: invasion at checkout! All prices in Canadian dollars. For our American listeners, fear not, SeatGiant.com also offers you the same great deals in US dollars and you can also use our promo code: invasion for more savings.

Episode 24 with my Co-Host Sands (Sandra) We talk to Actor Ed Gale. Best know for the Role of Howard The Duck, Chucky , And so much more. It was an Amazing Interview and so much Fun. We had some Audio Issues but we still had a great talk and had the Honor of talk to Ed. I hope you all enjoy this episode as much as we did. I would like to thank all my guest, Fans, and all that support my podcast. I Love all of you. SPREAD THE WORD

On this very special episode of Every Marvel Movie Ever, the boys talk to Hollywood's own Ed Gale (Howard the Duck, Child's Play 1 & 2, Spaceballs) all about reboots, Hollywood gossip -- oh, and Howard the Duck. Thank you SO much Ed for talking to us. It was a dream come true and major thanks for putting up with all our bullsh*t. Ed's Facebook: https://www.facebook.com/OfficialActorEdGale/ Short Stories with Ed Gale: http://shortstorieswithedgale.com/ Find us on Twitter and Instagram at @MarvelMoviePod! Email us at marvelmoviepod@gmail.com! YouTube Channel: https://www.youtube.com/channel/UCBhaKwC55u_e1eMtjNAEpAw

I managed to get an interview with the amazing Ed Gale, the man in the suit of Howard the Duck and Chucky. We get some behind the scenes scoop on getting into Hollywood and working with George Lucas.

On this week's episode, we're releasing last month's sold-out show from Brooklyn, it's Howard the Duck: Live! at the Bell House! At this show, we raised such important questions like: Does planet Duck World also contain Duckburg from Duck Tales? How many of Howard's movie posters are porno parodies? And why can't this movie just be about a duck who manages a rock band? PLUS: George Lucas really turns on the filth! Howard the Duck stars Lea Thompson, Tim Robbins, Ed Gale, and Jeffrey Jones; directed by Willard Huyck.

Originally released on 11/06/13, Mike and Adam start with a review of CURSE OF CHUCKY, then talk with Ed Gale who played Horror Icon “CHUCKY” in Child’s Play, “Howard” in Howard the Duck, and whose credits also include Spaceballs, Baywatch and more!! Out of the Midnight Jury vault for the first time in over 2 … Continue reading Midnight Jury CLASSICS Ep. 13 “An Interview with Ed ‘CHUCKY’ Gale” →

Originally released on 11/06/13, Mike and Adam start with a review of CURSE OF CHUCKY, then talk with Ed Gale who played Horror Icon “CHUCKY” in Child’s Play, “Howard” in Howard the Duck, and whose credits also include Spaceballs, Baywatch and more!! Out of the Midnight Jury vault for the first time in over 2 … Continue reading Midnight Jury CLASSICS Ep. 13 “An Interview with Ed ‘CHUCKY’ Gale” →

August, 1986 was a landmark for Marvel Comics fans. After years of seeing DC heroes in theaters, Marvel struck back. The very first Marvel Comics movie was released by Lucasfilm, starring actors from Back to the Future, Amadeus, and Top Gun. Before there was Iron Man there was...Howard the Duck!! Now celebrate 30 years of duckiness! Howard the Duck stars Lea Thompson and Ed Gale join Arnie, Marjorie, and Justin on this look back at the movie--and all the collectibles from it! Candy cigars, trading cards, View-Master slides, Laserdiscs, DVDs, video games, and more -- all based on Lucasfilm's adaptation of Howard. They're not just toys, they're Mallardlicious!

August, 1986 was a landmark for Marvel Comics fans. After years of seeing DC heroes in theaters, Marvel struck back. The very first Marvel Comics movie was released by Lucasfilm, starring actors from Back to the Future, Amadeus, and Top Gun. Before there was Iron Man there was...Howard the Duck!! Now celebrate 30 years of duckiness! Howard the Duck stars Lea Thompson and Ed Gale join Arnie, Marjorie, and Justin on this look back at the movie--and all the collectibles from it! Candy cigars, trading cards, View-Master slides, Laserdiscs, DVDs, video games, and more -- all based on Lucasfilm's adaptation of Howard. They're not just toys, they're Mallardlicious!

August, 1986 was a landmark for Marvel Comics fans. After years of seeing DC heroes in theaters, Marvel struck back. The very first Marvel Comics movie was released by Lucasfilm, starring actors from Back to the Future, Amadeus, and Top Gun. Before there was Iron Man there was...Howard the Duck!! Now celebrate 30 years of duckiness! Howard the Duck stars Lea Thompson and Ed Gale join Arnie, Marjorie, and Justin on this look back at the movie--and all the collectibles from it! Candy cigars, trading cards, View-Master slides, Laserdiscs, DVDs, video games, and more -- all based on Lucasfilm's adaptation of Howard. They're not just toys, they're Mallardlicious! ​

August, 1986 was a landmark for Marvel Comics fans. After years of seeing DC heroes in theaters, Marvel struck back. The very first Marvel Comics movie was released by Lucasfilm, starring actors from Back to the Future, Amadeus, and Top Gun. Before there was Iron Man there was...Howard the Duck!! Now celebrate 30 years of duckiness! Howard the Duck stars Lea Thompson and Ed Gale join Arnie, Marjorie, and Justin on this look back at the movie--and all the collectibles from it! Candy cigars, trading cards, View-Master slides, Laserdiscs, DVDs, video games, and more -- all based on Lucasfilm's adaptation of Howard. They're not just toys, they're Mallardlicious! ​

WAUGH! Actor Ed Gale joins me to kick off beak-to-beak Howard the Duck episodes!  Ed talks about crazy stunts, working with Lea Thompson and bringing our favorite feathered friend to life on the big screen! Follow Ed on Twitter Like Ed on Facebook Stuff you heard on the show: The IndyCast

WAUGH! Actor Ed Gale joins me to kick off beak-to-beak Howard the Duck episodes!  Ed talks about crazy stunts, working with Lea Thompson and bringing our favorite feathered friend to life on the big screen! Follow Ed on Twitter Like Ed on Facebook Stuff you heard on the show: The IndyCast

Show information: www.TonyTrombo.com My special guest is the actor ED GALE! Ed left his hometown two years after graduating from Plainwell High School (Plainwell, Michigan) at the age of 20 with $41 in his pocket and hitched a ride California to pursue his dream of being not a "star", but a steady working Hollywood "actor". His very first experience in the "biz" was auditioning for and subsequently winning the lead role of Howard The Duck. Initially he was told "you are too tall" (he keeps that letter readily available in his living-room and often refers to it with a humble smile). Early in his career, Ed had performed many of his own stunts such as being run over by a big rig, flying on wires, fight scenes, being tossed, thrown & dropped great distances, and crashing through the windshield of a moving vehicle. However, his most impressive stunts just might be his Full Body Burns in the first Child's Play movie and his Full Body Burn while "flying" on wires in Leprechaun 3. Ed Gale has appeared in over 130 Television Shows, Films, and Commercials to date; playing some of Hollywood's most famous (and infamous) characters such as "Howard" in the movie Howard The Duck; "Chucky" in Child's Play, Child's Play 2, and the Bride of Chucky; "Birdie the Early Bird" in one of the very few McDonland's commercials in which "Birdie" actually flew; "Tasha" (the baby dinosaur in the ABC Saturday morning kids show The New Land of the Lost; and the "The Mole" in The Adventures of Rocky and Bullwinkle. Other popular films to Ed Gale's credit include; Bill & Ted's Bogus Journey, Mom & Dad Save the World, and the Christmas Holiday Hit: the Polar Express.

Chris and Nick investigate the notorious 1986 flop Howard the Duck with discussion of unconvincing special effects, George Lucas's rolodex of dwarves, and duck titties. Starring Lea Thompson, Ed Gale, Tim Robbins, and Jeffrey Jones.