Podcasts about Ed Wood

Participants: John Steppling, Roger Johnson, Hiroyuki Hamada, and Dennis Riches. Topics covered: The “hands off NATO” protests against Trump, anti-NATO protests in Belgrade, tariff shocks, Japan's US T-bill selloff, the power of blackmail, or lack thereof, the decline of movie theaters/going out to the movies, editing movies for television (films of the 40s vs. films of the 80s) the films of Val Lewton, Jacques Tourneur, Ed Wood, Pier Paolo Pasolini, Jean Genet for Palestine. Music track “Motherless Children Have a Hard Time” by Blind Willie Johnson (public domain, see also modern covers of the song by Eric Clapton and friends on YouTube).

Throwback Thursday time!This week, we're taking you back to our chat about Tim Burton's Ed Wood. You will NEVER GUESS who is the lead in it either.Also this is the first example of Josh saying we hadn't done something yet despite doing it literally weeks earlier. Happy memories!Give it a listen!Original air date: 13/04/2021·       Please note, this is an un-altered release of the original episode. All references and content are accurate and relevant as of the original release date but may now be out of date.All the usual links below:Apple/iPhone:https://podcasts.apple.com/gb/podcast/films-n-that/id1470141261Spotify:https://open.spotify.com/show/1C4LiOrMZTD90e9tbB5EQOAcast:https://feeds.acast.com/public/shows/6071ac061216e55e7a95b11bYouTube: https://www.youtube.com/channel/UCIZopXPQHmlSnpgwtr2_ROQIf you'd like to get in touch, then the email is filmsandthatpod@gmail.com and we're on all the usual social media platforms  if just search for Just Films & that and you should find us!Our Website ishttps://www.justfilmsandthatpod.com/Our Patreon is:https://www.patreon.com/justfilmsandthatCheers!The Just Films & That team   Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

March 25-31, 1995 This week Ken welcomes old friend, favorite person, and TV Writer (Only Murders in the Building, Silicon Valley), Rob Turbovsky. Ken and Rob discuss Rob's time in Boston, moving to LA, Thai food, Ken catching Rob on his failing into retirement journey, getting to write for your heroes, Martin Short doing a Clifford impression JUST for you, The Oscars, David Letterman, Forrest Gump and Pulp Fiction, cigarettes to Rx drugs, Ask TV Guide, how you used to have to ask questions about pop culture before the internet, placing Greg Barnes, Geraldo's legal background, Martin Landeau, Ed Wood, shows set in Boston, people stalking TV members, Tracy Gold in Ladykiller, Made for TV movies, weird horny Tylnol ads, male fragility, Chicago Hunk: Peter Berg, the odd 90s trend of barefoot celebrity photos, Aspen Extreme, celebrith recipies, using a sword to chop lettuce, Dave Couler's Swordfish with tomato sauce, Alex Trebek's dangerous frying style, Charles Grodin's talk show, Rob's oral history of Clifford for Vulture, SCTV, how Ken insists the Martin Short role in Captain Ron was written for Steve Martin, The Bob Hope Young Comedian's Special vs. The HBO Young Comedians Special, the memory hole of Backdraft, the lost era of movies, Taxi reruns, MST3k, Lawmower Man, Oscar counter programming, Cabin Boy, Raising Caine, the lost full musical cut of "I'll Do Anything", Phantom of the Paradise, Dead Pilots Society, the greatness of Mark McKinney, Exit 57, The Vacant Lot, Twilight Zone: The Movie, American Inventors Corp, a Tribute to Andy Kaufman, Unsolved Mysteries, Stormy Justice, Crime Story, being pranked by Tony Clifton, how turning to stand up is the worst thing ever, Major League, Midnight Run, how Beverly Hills Cop II is the better movie than Beverly Hills Cop, and loving John Waters.

Il giorno è giunto alla fine. Una rassegna dedicata a un artista che ha influenzato il cinema fantasioso da ormai più di quarant'anni e che mi ha spinto ad interessarmi al Cinema personalmente, professionalmente, artisticamente, sentimentalmente e Grammaticalmente.Il Cinema di Tim Burton è qui! Grida insieme a noi e fate largo a chi è speciale più di voi!Nel 1994 Burton decide di parlare direttamente del suo grande amore per il Cinema. E lo fa raccontando la storia del peggior regista di tutti i tempi. Regolare.Semplicemente "Ed Wood".

Send us a textA surprise birthday prank takes a turn for the worse when an aspiring teen filmmaker casts the perfect leads for his breakout zombie film: his favorite undead podcast hosts! On Episode 661 of Trick or Treat Radio we are joined by CreepyGirl for a Patreon Takeover! This time she has selected the films All You Need Is Blood and Milk and Serial for us to discuss! We also talk about microbudget horror, films about making films, and older actors who can play much younger roles. So grab your handheld camcorder, plan an elaborate prank that is sure to get the heat on your tail, and strap on for the world's most dangerous podcast!Stuff we talk about: Best Horror films of 2010 - 2019, What We Do In the Shadows, NECA, Toony Terrors, Patreon Takeover, Creepygirl, couch angels, Stranger Things, The Electric State, The Russo Brothers, Cobra Kai, Joe Seo, Ralph Macchio, Giancarlo Esposito, King Richard's Faire, David Robert Mitchell, It Follows, Maika Monroe, They Follow, Nightmare Beach, Umberto Lenzi, Crossroads, Summer We Died, The Girl With the Needle, micro budget horror, Shiver Me Timbers, Popeye Horror, Screamboat, David Howard Thornton, Martin Kove, All You Need is Blood, Cooper Roberts, Mena Suvari, Logan Riley Bruner, Eddie Griffin, Dice Rules, smashing up a Ferrari, getting more eyes on your art, Ed Wood, Aliens vs. Kids, Fido, Milk and Serial, Curry Barker, Cooper Tomlinson, pranking friends on social media, the toxicity of social media and its effects on us, Astron-6, Trey Parker and Matt Stone, found footage films, Cannibal Mukbang, Aimee Kuge, Hundreds of Beavers, Tubi, making dams, Creepygirl Movie Reviews on TikTok, and I Like Turtle Zombies.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Hello and welcome back to The Dana Gould Hour. Your brief audio respite from the world's worst reality show, reality. Samm Deighan is here. She is a film historian and author and has written such books as The Legacy Of World War 2 in European Art House Cinema and a study of Fritz Lang's child murder romp M. Her new book, written with Andrew Nette is entitled Revolution In 35 MM, Political Violence And Resistance In Cinema, From The Art House To The Grindhouse 1960 to 1990. It covers everything from The Battle Of Algiers to Coffin Joe to Zabriskie Point.  Harry Medved and Bennet Yellin are here. Harry Medved wrote the book the 50 Worst Movies of All Time when he was in high school! He was 15 when he wrote that book. And that was in the late 70's before VHS tapes. He also wrote, with his brother Michael, the Golden Turkey Awards, which, as you know, is what helped put Ed Wood back on the map in the mid-eighties.  He has a series now on PBS called Locationland, where he takes audiences on a tour of famous film locations, this was back when films had locations, as opposed to standing in front of a green screen at a warehouse in Atlanta. I recently had the pleasure of joining Harry on a tour of the locations for a little film you may have heard me talk about, Plan 9 from Outer Space.  Bennet Yellin is an author and screenwriter, he's written, with the Farrelly Brothers, There's Something About Mary, Dumb And Dumber, Dumb And Dumber Two. Bennet and Harry have been friends for eons and they are here to talk bad movies, good movies and Ed Wood movies which are, of course, an alchemic mixture of the two. True Tales From Weirdsville tells the tale of the place both wonderful and strange, Twin Peaks. Like everyone else I was super bummed out by the passing of David Lynch in January. I think it was a combination of things. The election, we were in the middle of these catastrophic fires and then, just when things couldn't get worse, they did. As much as I love David Lynch and his work, and have back to…I guess Blue Velvet, what he stood for meant more to me than any particular film or television show or what have you.  He was uncompromising in his vision, you could like it or not. That wasn't the point. That's a rare thing these days, when studios and networks seem to be operating under the belief that the only audience worth getting is everyone alive, and anything less is a failure. Twin Peaks, it's origins, success, fall from grace and resurrection is a terrific microcosm of how Lynch's refusal to compromise created something far greater than the sum of it's parts, it flew against convention, challenged audiences. In the case of Fire Walk With Me, it really challenged audiences. But in every instance, time has proven Lynch's instincts were right, so we're going to do a two, possibly three part series on Lynch's career through the lens of Twin Peaks. And NOW, it's on to our filthy business. https://DanaGould.com

Based in Los Angeles, California, F. Ron Miller has designed numerous movie posters and title sequences, as well as an impressive number of covers for The Criterion Collection, who releases important classic and contemporary films. Ron's always been a big fan of The Bad and the Beautiful, starring Kirk Douglas, Lana Turner, and Elaine Stewart. It tells the story of a ruthless producer played by Kirk Douglas, who works tirelessly to reach the top of the Hollywood system with no care for how others get left in the dust. We also talk about movies that are about making movies, David Lynch, Citizen Kane, as well as imposter syndrome, how designers work, design magazines, design culture, and design history.-F. Ron Miller received his bachelor's degree from California Institute of the Arts, where he was a student of Lou Danziger, and his master's degree from London's Royal College of Art. His work has appeared in Communication Arts, The Paris Review, and The Design Observer. He's prominently featured in the Criterion Designs monograph.https://www.fronmiller.com/https://www.amazon.com/Criterion-Designs-Collection/dp/160465936Xhttps://criterioncast.com/column/covering-the-collection/covering-the-collection-an-interview-with-f-ron-millerhttps://www.criterion.com/faq https://www.artcenter.edu/about/alumni/alumni-stories/lou-danziger-leaving-a-well-designed-legacy.htmlhttps://www.printmag.com/daily-heller/the-daily-heller-lou-danziger-at-100-and-beyond/ -The Bad and the Beautiful (1952)https://www.imdb.com/title/tt0044391/ https://www.theguardian.com/film/2012/apr/22/bad-and-the-beautiful-reviewhttps://www.nytimes.com/1953/01/16/archives/the-bad-and-the-beautiful-with-kirk-douglas-playing-a-scoundrel-at.html-Movie history from Scorsesehttps://en.wikipedia.org/wiki/A_Personal_Journey_with_Martin_Scorsese_Through_American_Movieshttps://www.kanopy.com/en/watch/video/5878649/5878651 -Other movies and shows discussed, alphabetical listAce In the Hole (1951)Boogie Nights (1997)Bowfinger (1999)Cat People (1942)Chaplin (1992)Citizen Kane (1941)CQ (2001)Dolemite Is My Name (2019)Ed Wood (1994)Hollywood Shuffle (1987)Maxxxine (2024)Once Upon a Time In… Hollywood (2019)A Personal Journey with Martin Scorsese through American Movies (1995)The Player (1992)Playtime (1967)The Postman Always Rings Twice (1946)The Professional (1994)The Wizard of Oz (1939)

Lights, camera… disaster?

Be kind and rewind, Slackers!This week we take a dive into cinema's cult classics - films that took the long road to legendary status. These films - think dark humored high school flicks like Heathers or demonic, medieval chaos courtesy of Army of Darkness - often stumbled at the box office, barely making a dent with opening crowds.But at Blockbuster, they found their groove, turning late-night rentals into a rite of passage for fans. The question is, what exactly makes a cult classic a cult classic? Its a combination of unforgettable characters, quotable lines, and those unexpected moments that make you question what you just watched. It's about stories that mix heart, humor, and a little madness - all the ingredients of the Gen X mindset.What makes these movies stand the test of time isn't flashy red carpet premieres and huge box office numbers but the way they kind of snuck into our lives. Some weave fairy-tale romance with clever twists, others bring vampires to the teenage coming of age story, or maybe just toss a trucker into some ancient, mystical weirdness. I mean, how do you even describe the awkward charm of a movie like Napoleon Dynamite? It's sad that streaming has replaced the local video store, where so many of us found these weird little movies, turning often overlooked releases into beloved classics. This isn't just nostalgia; it's a nod to films that took time to find their people, proving that some of the best stories don't need a red carpet - just a rewind button and a little love.

We welcome one of the godfathers of bad movie culture, Harry Medved, of the seminal books "The Fifty Worst Films of All Time" and "The Golden Turkey Awards," and discuss his PBS show "Locationland" where he and comedian Dana Gould visited the filming sites for Plan 9 From Outer Space! And we also spend a little time talking to Locationland producer Harry Pallenberg about his father's work with John Boorman on Exorcist II: The Heretic (the Golden Turkeys' pick for #2 worst movie of all time) and the oft-referenced Zardoz!Thrive all year with clean, easy meals from Green Chef. Go to greenchef.com/flopfree and use code flopfree to get started with FREE Salads for two months plus 50% off your first box.

Never in the history of this show has a movie caught Jordan and Cameron so off guard. 1994's Just Cause isn't just a wildly racist movie, it actually thinks it's doing the work...until it decides the work is too hard and creates a cartoonishly villainous Black character with the craziest plan we've ever seen in a movie.  Starring Sean Connery, Laurence Fishburne, Blair Underwood, Ruby Dee, Scarlett Johansson, Ed Wood and somehow more, it follows all the usual twist and turns of your usual 90's thriller until it makes the hardest left turn into "actually this Black man is a psycho and the police were right to beat and castrate him." Yes, you read that right.  Anyways, we're chugging along and getting ready to launch our book and film clubs coming up this month. Join us on our Discord and Instagram (@whitepeoplewontsaveyoupod) to learn more.  We'll be trying to organize more as the year goes on, but we hope everyone is hanging in there.  We love you and we've got you! 

Your hosts travel to Nevada for THE BEAST OF YUCCA FLATS (1961), directed by Coleman Francis and starring Tor Johnson! But does this indie horror land more towards Ed Wood charm or W. Lee Wilder incompetence? While we decide, we share facts about the Nevada Test Site, nuclear experiments and John Wayne's 1956 film THE CONQUEROR. Context setting 00:00; Synopsis 27:20; Discussion 35:42; Ranking 45:08

You can find the podcast on Threads, Instagram and Bluesky. The Worst Film of All Time by The Worst Director of All Time. So claimed the 1980 book The Golden Turkey Awards by Michael and Harry Medved regarding the film Plan 9 from Outer Space and director Edward Wood Jr AKA Ed Wood. But this very title is one of the reasons behind the revival of the film and of Ed Wood. The film has issues with continuity, set design, dialogue and a coherent ‘Plan 9' but something about the film appeals to a subset of film lovers. Perhaps it's the flashes of style, the joy in its failings or perhaps it's a recognition of something beyond the traditional and often formulaic nature of mainstream narrative filmmaking. Today I speak with two wonderful film academics and fans of the film. The Experts Mark Bould is a professor of Film and Literature at the University of West England, Bristol. He has written/edited extensively about science fiction cinema. Rodney F Hill is a Professor of Film at the Lawrence Herbert School of Communication at Hofstra University and has written extensively about film. If you are interested in finding out how you can help the Prince Charles Cinema you can visit this page here.Chapters 00:00 Introduction 01:28 Ed Wood: Hollywood, Kubrick and Corman 05:04 Glen or Glenda, the production code and censorship 12:39 Plan 9 and the Baptist Church 14:33 Bela Lugosi and the rest of Ed Wood's crew 20:35 The Amazing Criswell 23:23 Plan 9: An unconventional classic 25:50 Why my guests love the film 34:04 Bad science 35:46 The more traditional aspects Plan 9 37:22 The Worst Film of All Time and The Worst Director of All Time 39:57 Ed Wood the outsider and the Church of Ed Wood 43:14 Comparison to mainstream films 45:21 The Legacy 48:08 Recommendations 50:37 Save the Prince Charles Cinema NEXT EPISODE! The next episode we will be discussing The Blob (1958) which is available to rent and buy online in many places. You can also watch the film on the Just Watch website which was quite unexpected! (And remember folks, Steve McQueen is supposed to be 17 years old in this film!)

Cav and Faust drop the hammer on the latest edition of AEW Collision. This week Mariah and Toni look to have a Hollywood ending, Jake Roberts is still missing, screaming Harley promo, CRU, PAC has CTE, Caster open challenge, and Jericho defends the ROH title. Plus everything else that went down on Collision. Subscribe on patreon.com/LingusMafia for ad-free and video versions of the show, exclusive PPV/PLE reviews and bonus shows including every Wrestlemania, SummerSlam, Royal Rumble, Survivor Series, and Saturday Night's Main Event ever. Get access to over 10 years of podcasts! Control Body Odor ANYWHERE with @shop.mando and get $5 off your Starter Pack (that's over 40% off) with promo code “CCN” at Mandopodcast.com/CCN! Stay connected: All our social media (@LingusMafia) links can be found here: https://linktr.ee/lingusmafia We have merch! Shirts, hoodies, stickers and more: lingusmafiashop.printify.me/ Drop us an email with comments or questions: lingusmafia@gmail.com

Description As usual there are spoilers ahead! I would love to know what you make of the ending of this film if you watched it. Best place to do that is on social media. Threads, Instagram and Bluesky. 1957 USA seems like a country on the brink of huge social change. (Of course, I say this with the benefit of hindsight and with a deep affection for the decade that was just around the corner.) But so many of the events of the year are an indication of what's to come. The Civil Rights Act of 1957 was the first of many legislative attempts to bring federal protection for African Americans in the face of growing dissatisfaction in the South towards desegregation of schools and society. 1957 was the year the Little Rock Nine were enrolled into a previously all white school. The photos of nine black children often surrounded by angry and jeering crowds and the presence of US paratroopers are staggering. It is the year Enovid was approved by the FDA for menstrual problems. Two years later it would become the first FDA approved contraceptive pill. And in October 1957 Russia launched Sputnik into orbit causing a shock across the USA. Despite anxiety about their biggest rival the country was not ready for such a display of technological accomplishment. The year prior in 1956 Jack Arnold (who had become somewhat disillusioned by the increasingly schlocky independent sci-fi films of the late 50s) was convinced to return to Universal to make The Incredible Shrinking Man. Richard Matheson's story is an unusual examination of a man losing stature both physically and socially. Many consider this Jack Arnold's greatest science fiction film. We have two wonderful guests to explain why that might be. Scott Higgins is a Professor of Film at Wesleyan University as well as being the Curator of the Wesleyan Cinema Archives. He has written multiple books and essays about film. Ian Scott is a Professor of American Film and History at The University of Manchester. He has written extensively about politics and film in Hollywood. Chapters 00:00 Introduction 01:42 Jack Arnold's best film? 06:30 Special effects and 1950s horror 09:15 1957 USA: The rumblings of change 13:29 Metaphors and definitions of masculinity 30:43 Kafka, psychoanalysis and The Kinsey Reports 35:22 Women 37:38 The End! 45:17 Legacy 49:55 Recommendations for the listenerNEXT EPISODE! Next episode we will be talking about what the book The Golden Turkey Awards declared as the Worst Film of All Time by The Worst Director of All Time. Plan 9 from Outer Space by Ed Wood is available to rent or buy on various online platforms. Just Watch is a good resource to check where it might be available in your region. Mubi and Pluto are only available in some regions but do offer a decent range of older science fiction films.

With their books The Fifty Worst Films of All Time (1978) and The Golden Turkey Awards (1980), brothers Harry and Michael Medved crystallized the idea of "so bad it's good," made Ed Wood famous, and created "bad movie" fandom as we know it. In this special interview episode, Will Sloan talks to the Medved Brothers about the making of the books, the movies they got wrong, and whether Plan 9 from Outer Space is REALLY the Worst Movie of All Time. PLUS: Harry Medved and producer Harry Pallenberg talks about their new show LOCATIONLAND, where they visit the filming locations for Plan 9. Check out Harry Medved's LOCATIONLAND: Official LOCATIONLAND website: https://www.pbssocal.org/shows/locationland GREASE Road Trip: https://www.youtube.com/watch?v=7aLpBO24qQw (live now) Ed Wood's PLAN 9 Adventures: https://www.youtube.com/watch?v=P9IBP_1v13M (launches Feb. 10 at 6pm) Behind The Hollywood Sign: https://www.youtube.com/watch?v=YeHpsiSxFVs (launches Feb. 13th) PBS SoCal YouTube: https://www.youtube.com/@PBSSoCal

Betsy and Greg look back at ED WOOD

ED WOOD – Retrospective. Join hosts Trevor and Jason as they discuss the 1994 CULT CLASSIC flop with Johnny Depp, Bill Murray, Martin Landau, Sara Jessica Parker and Patrica Arquette. Debate/Conversation Topic: An in-depth discussion of Reality Bites , including detailed plot breakdown, historical relevance, critical reaction, and merchandising. Batman, Mars Attacks, Pulp Fiction. Plus much more, tune in now!

Send us a textJoin us for our first Depposition of the year. 00:00 - Intro02:10 - Nosferatu29:33 - Ed WoodFollow us on Instagram @moviemavensFollow us on Tik Tok @moviemavenspodWrite us an email at moviemavenspodcast@gmail.com

This week's Film Seizure delves into the crazy dramatized world of a true master of terrible cinema with Tim Burton's 1994 masterpiece, Ed Wood. Episodes release on Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on BlueSky: https://bsky.app/profile/filmseizure.bsky.social Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

Black Friday and Cyber Monday may be gone but the physical media buying season is in full effect for the movie lovers in your life. Erik Childress and Peter Sobczynski go through the week's offerings. Sure they include the infamous later films of Ed Wood have been unearthed along with a “Reefer Madness for the Sexual Revolution” plus a goofy Michael Crichton adaptation. But there are also masterpieces from Wim Wenders and Werner Herzog plus a pair of beloved horror and sci-fi comedies. Not to mention an overlooked film from Sam Raimi and the great pre-South Park musical from Trey Parker and Matt Stone.  0:00 - Intro 1:00 - Criterion (Paris, Texas 4K) 10:28 - Shout Factory (Aguirre: The Wrath of God 4K, The Gift 4K) 22:04 - Kino (The Visit 4K) 30:05 - Sony (Legends of the Fall 4K) 34:43 - Paramount (Galaxy Quest 4K) 45:05 - Universal (Shaun of the Dead 4K Steelbook) 56:04 - Severin (Hard Wood, Scala) 1:07:38 - Vinegar Syndrome (Looking for Mr Goodbar 4K, Cannibal: The Musical 4K, Congo 4K) 1:29:38 – New TV & Theatrical On Blu-ray 1:33:16 – New Blu-ray Announcements

Send us a textGreetings, my friends. Join us, won't you, as we explore the strange and unusual life of filmmaker Ed Wood, in Tim Burton's 1994 biopic of the same name.  Starring Johnny Depp, Martin Landau, Patricia Arquette, and Sarah Jessica Parker, this movie will take you into the weird world of Ed Wood during his “heyday” in the 1950s when he befriended aging actor Bela Lugosi and created some of the worst Z-movies known to man. We also learn what a “Z-movie” is and explore what defines a cult classic.  So grab your angora sweaters, ignore any and all criticisms (or even common sense and good taste) and listen in!

Celebrating the 4th Anniversary of Drunk Cinema, Charles Skaggs & Xan Sprouse watch Ed Wood, the 1994 biographical comedy-drama directed by Tim Burton, featuring Johnny Depp as Ed Wood, Martin Landau as Bela Lugosi, Sarah Jessica Parker as Dolores Fuller, and Patricia Arquette as Kathy O'Hara! Find us here:X/Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

Do you want to become part of someone else's happiness? In the wake of a potentially tumultuous U.S. Presidential Election Higgins and Loe address this as they recommend a bevy of films to help you go forward with purpose, and maybe a little joy Dear Listener. They highlight Hirokazu Koreeda's brilliant film After Life, arguably Tim Burton's best picture, Ed Wood, the prescient Paul Verhoeven movie Starship Troopers and more. Enjoy. Subscribe on Patreon Apple - The Film Talk Spotify - The Film Talk Facebook.com/TheFilmTalk To contact Jett and Gareth go to: info@thefilmtalk.com Or leave a voicemail message at: Speakpipe.com/TheFilmTalk To see on Threads what Jett is getting up to: Threads.net/@jett_loe  

Ed Wood's The Sinister Urge leads Chris and Charlotte down a dark path towards smut, dirty pictures, deathly orgies, love feasts, and taking it out in trade. Thank goodness this experiment also features an educational short about Keeping Clean and Neat!

In this second episode of The Monsters That You Made, “The Invisible Dan” and “Monster Mike” chat with filmmaker Jakob Skrzypa, producer and co-writer of the new horror comedy, Vampire Zombies… From Space! Join them as they discuss Jakob's history with the Universal Monsters, growing up with The Creature from the Black Lagoon and The Wolf Man, discovering the films of Ed Wood, and the 10+ year journey of breathing new life into a project that began way back in high school and finally getting it up on the big screen. Find Jakob and Vampire Zombies… From Space online: Website: vampirezombiesmovie.com Instagram: @vampirezombiesmovie Instagram: @jakobmakesmovies Facebook: facebook.com/vampirezombiesmovie If you enjoy this episode, and want to support the show, check out our Patreon!

Sometimes good things are worth the wait and this podcast is no exception! We're BACK with two of Hollywood's most infamous filmmakers and a theater that screened them more than anything else... Join us as we discuss the Russ Meyer VIXEN trilogy and the nearly decade long journey that lead to Severin and the Russ Meyer Trust becoming bosom buddies... IN BOSOMANIA! We break down the full-frontal BREASTorations and our STACKED lineup of extras on each release of VIXEN, SUPERVIXENS, and BENEATH THE VALLEY OF THE ULTRA-VIXENS. Then we talk about the later-era hardcore films of the man who puts WOOD in Hollywood... ED WOOD JR and his HARD WOOD.  We talk about all three titles in the HARD WOOD set as well as a very special BONUS film included that might be worth the price of the release by itself. Lastly, we talk with special guest Kier-La Janisse to discuss the documentary about the cinema that featured those two filmmakers most... SCALA!!! This release comes with the documentary as well as two extra discs that will put you right in the middle of the rowdy Scala crowd. Directors Ali Catterall and Jane Giles join us for an interview about the doc and this once-in-a-lifetime release! BUT WAIT, THERE'S MORE! DJ Alfonso is here with a MASSIVE edition of Rendezvous After Hours that you won't want to miss.   Timecodes below: 4:00 - SCALA!!! 8:30 - Interview with SCALA!!! Directors Ali Catterall and Jane Giles 44:45 - VIXEN 1:08:00 - SUPERVIXENS 1:20:08 - BENEATH THE VALLEY OF THE ULTRA-VIXENS 1:27:41 - HARD WOOD: The Adult Features of Ed Wood 1:53:40 - Rendezvous After Hours

Happy (belated) Halloween! The Creeping Terror slowly approaches Chris and Charlotte and overhears them discussing carpet samples, Vic Savage, Ed Wood, avant-garde composers, and Love, American Style!

This week, the society celebrates Spooky Season with another spooooooky Halloowwwweeeeen special, watching the 1994 Touchstone Picture Ed Wood, directed by Tim Burton and starring Johnny Depp, Martin Landau, and Sarah Jessica Parker.  Beware! Take caaaare!!! Bewwwaaaaaarreeee!  Follow us @medfieldfilm on social media for the latest news

We kick off a big week on Have You Ever Seen with our 619th episode, a gab about Tim Burton's (probably) best film. One of the quirkiest directors of all time was actually fairly grounded making this lighthearted biopic. Johnny Depp is troublesome these days, but you can't question his work in Ed Wood as the optimistic, yet stunningly self-unaware title filmmaker. And while the entire cast is right there with him, it's the Oscar-winning Martin Landau who stands out the most as horror icon Bela Lugosi. Ed Wood is also quite sympathetic to Ed's lifestyle, whether it's that he's transgender and hasn't pulled the string on that just yet...or it's simply that he likes to wear women's clothes. In any case, Burton and the team accept the weirdness of this entire crew...and also their lack of talent. So be-vare and take carrrrre as we present a talk about the exploits of the "worst director of all time". Sparkplug Coffee is our sponsor. Go to "sparkplug.coffee/hyes" and get a onetime 20% discount by using our "HYES" promo code. Contact us on Twi-X (@moviefiend51 and @bevellisellis) or with an email (haveyoueverseenpodcast@gmail.com). Bev uses that same @ on Threads, incidentally. Rate, review and subscribe to our podcast in your app, but also look for our episodes on YouTube. It's @hyesellis in your browser. Comment all you like, hit the like button and, hey, subscribe.

By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Stephen Follows, author of The Horror Movie Report.Stephen and I go back a ways, he's a pop culture data journalist I really respect and you've seen him in the newsletter lately based on his great work on stuff like Hallmark movies. He's out with a really fun new book diving into horror movies, one of the more exciting genres in the film industry these days. We spoke about the rise of horror as a genre, its unique relationship with audiences, and how certain trends have evolved over time.Follows can be found at his website, and the book can be found at HorrorMovieReport.com.This interview has been condensed and edited. Stephen, thank you so much for coming on.Thanks for inviting me. It's always a joy to have a chat with a fellow nerd who likes to go as deep as we do on this stuff.You have this really interesting new book out called The Horror Movie Report: The Ultimate Data Analysis of Horror Films. This thing's amazing. We're going to get into it. But before we dive in, I'd love to start off by hearing about how you'd describe the work you do. Can you tell folks a little about your history as a writer, blogger and analyst?Definitely. I kind of came to this in a strange way. I always knew I wanted to do film and thinking, but I didn't know what that meant. I was a teenager, and everyone told me to go and study thinking, study science and do film on the side. So I did the opposite, because I'm a contrarian. I went to film school and went down a path of writer/producer, and I set up a production company. It still runs, but is now doing more advertising for the charity sector in the UK.I'm still involved with that, but it meant that as my stuff moved away from film, I missed being connected to the film industry. I started to use my thinking principles and maybe 15 years ago I started studying film through the lens of data. I have no training in data. I stopped studying math at about 15, but I have an aptitude for it, and I enjoy it. Not many people do in film. I thought, oh, this is fun. This is a place for me. I started blogging about that, and some in the film industry like it. Not many people run away to do the accounts for the circus. It's nice to have a place.Then that evolved. I've done stuff within gender and other forms of inequality, and things within business to help filmmakers' profitability — but also crazy things, like looking at which Bond film mentions its own title most frequently in the dialogue. Which I don't think you're going to guess.GoldenEye is my only guess.It's a good guess, and you're on the right path, but it's the wrong answer. The answer is Moonraker. You were right to think object instead of character.But that led me on, and I now work for Guinness World Records as a side gig, finding out movie records. That's the sum total of 20 years of numbers and film fun.I love your work. I've always enjoyed your work quite a bit, and I've done a lot of work myself in the pop culture data space and there's not a lot of folks in here. Particularly back in the day, there weren't many folks at all, so it was always really cool to see your stuff. It definitely always got me thinking and is really one-of-a-kind.That's nice to say. And I agree; I would often think of an idea, or someone would ask me about an idea, and I'd be like, I wonder if anyone's done that. Then I'd Google it and it would either be you, me and I'd forgotten, or no one's done it. That's great. What a privilege to have a space to actually make some progress in.It's good. Again, I admire your stuff so much, and this is why when you hit me up and mentioned you were working on this project, I was so excited. Horror movies have been one of the biggest success stories of the past couple of years, particularly in the postpandemic box office. They tend to overperform; they tend to get good ROI. We've seen a surge in horror film production and we've seen the market share increase.Can you talk a little bit about why this is historically anomalous? We've always had horror movies, since the beginning of the invention of the medium, but why are we now seeing a bit of an uptick?You're absolutely right. It's way more than an uptick. If we were looking at how many horror films were made last year worldwide, it was over 1,500, whereas around 2000, it was 500-something, and in the 1980s it was below 200. It's really transformed. As you said, not only have the raw numbers gone up, but also has the market share. Now about 12 percent of movies are horror films. That's a large percentage.It's a number of factors. Certainly all genres have grown in raw numbers, because it's easier and cheaper to make a film than ever before. Every device I own has some sort of HD camera on it — you can do it on a doorbell. It's possible to do that. You also have the ubiquity of information. I went to film school in 2001 and there was education from tutors, there were a few hardback books, but that was how you learned how to do stuff. Now there's so much content online telling you amazing stuff from awesome people for free. That has an effect.But that's across all films. With horror itself, the market share growth is, as you said, the more interesting part of it. There are a few factors. One, we're more accepting that a film is a horror film. A film that we might think of as horror now, if it had been made in the '80s, it might've been pitched as a psychological thriller. There's more acceptance; there's no shame in it. People are like, yeah, it's a horror film, whereas in the past they might not have done.There's also that generation that grew up with VHS horror films, The Evil Dead generation — and maybe even the generation after that, when it comes to executives — where people have grown up loving horror, but also knowing that it does well. Therefore, if there's no business shame and there's no art shame and there's no personal shame, why not say, yeah, I'm making a horror.There's still a bit of way to go. The awards are pretty poor for horror, and the trade press doesn't cover it properly. It's still not as fully accepted as other genres, but production-wise and audience-wise, it's really evolved and grown and, in the last 20 years, really matured.It's so funny that you mentioned the award stuff. I remember when Jamie Lee Curtis won her Oscar for Everything Everywhere All at Once, I thought it was actually really special that she took a moment and shouted out the horror fans. That's a constituency in movies that does not get a lot of shout-outs from award stages, but nevertheless really did keep her in business for a few years.And it was keeping her in business because it was delivering to audiences. There's no hiding from that. It's the most audience-connected genre, in my opinion.All my stuff is from raw data and from doing my own research, but sometimes I'll do a bit of Googling around to get a context before or after I do the work. With the awards, I found a few blog articles about how horror does at the Oscars, and all the numbers were wrong. They were all different, and they were different from mine. I was like, what is going on?It turns out there is a very, very small number of horror films that do well at the Oscars. Most of them are quite questionable horrors, as in, is it a horror or not? Silence of the Lambs. Jaws. Those are two films that IMDB says are not horror films. You can argue either way, and it doesn't matter what my opinion is, but there are a few like that. Or Black Swan, which is very much a horror film, but because it's female led and about a female perspective, people often go, “Ah, it's a psychological thriller,” in a very misogynistic way.A small number of films that have outperformed have really changed that data. You end up almost immediately talking about existential questions of what horror is. I love that. That's what the data immediately suggests we should chat about.I want to talk a little more about that audience for horror. You had a stat in here that was really interesting to me about how horror is the only genre where the audiences that actually go to the cinema to watch it are direct reflections of the actual national audience. I know you write about the UK in there, but also in general, one really interesting thing about the cinema is that you do have quote-unquote “four quadrants” for movies. For the most part, you're going to see a gender skew or an age skew in terms of who attends a film. But I'd love to hear you speak to how horror is really one of the most universal genres.It really is. It's interesting, because as you've mentioned, there are a few different ways we can cut up the data. The one way that horror is not like the population is age. It has the largest percentage of 18- to 24-year-olds. If you split them into the different buckets, as they often do, horror has the lowest percentage of people under 18 and the lowest percentage of people over 45, which is fascinating. It's really condensed within your 20s. However, it's a good gender split, and also crucially, in the UK, they do just the most British thing ever and do stats around social status.Interesting.It's a rabbit hole. If ever you're looking for a rabbit hole, Google social status. Everyone's classed into different groups, usually based on the job they do or that their parents did, or whether they went to university — things that are sort of falling apart. But it does mean they put people in different brackets. They do that for all the different audiences because it's part of the cinema business' advertising: They want to know whether to sell Rolex watches or lager. And when you compare it to the UK population, every other genre is posher. To a large degree, things like biographies are unbelievably posher than the average population.Horror is the one that just reflects the public. Also, almost every genre has a very strong correlation between what critics think of the movie and whether it makes money or not. In almost all genres, it makes sense; if you can make the film better, according to critics, you'll make more money. Horror has little to no correlation — functionally irrelevant correlation. Critics are irrelevant. Horror always gets poor scores from audiences, even, but I think that's because it delivers something different. It still is a film and it still is in the film genre space, but it's the weird cousin that's there delivering because it doesn't have the snootiness. It doesn't have the credibility. It only has the fact that it delivers, so when it does deliver, it does stunningly well. And the audience has a different criteria for what they'll put up with, whether they'll tolerate junkie effects or a bad idea or bad acting. I love that. It has its own identity.I love it, too. I'm glad that you mentioned that, because when I was doing my book, I was really interested in horror. I'm not good at horror movies; I am very easily scared and I don't have fun during them. I'll see them if I'm dragged to by my husband, but nevertheless, I am a gigantic weenie. There's no personal affection for this genre, but I was obsessed with it because, to your point, the first thing that people start messing around with when a new medium is invented is spooky stuff, right?When the novel was invented, you were very quickly after that getting stuff like Dracula, or Frankenstein. Once the medium has ossified, you start getting people experimenting with scares. Some of the earliest films that we have, whether it's Nosferatu or things like that, are people trying to spook one another. It's almost like the stuff that came before the dinosaurs.You're absolutely right. What's fascinating about it is that as soon as there's a new medium, people use it to scare other people, but then they take a long time to acknowledge that. The idea of a horror film as a nomenclature, as a name for it, didn't emerge until the early '30s, when you started to have universal monsters. We had horror films before that, but they didn't call them that. They might be called Gothic. So, there is a very quick move to scare ourselves, but then there's a very slow realization of acceptance, of publicly going, yeah, I don't mind being scared. Which is fascinating, isn't it?It is. It's so cool, and it's cool seeing it replicate itself. Online, you used to have jump-scare videos as some of the first stuff. Some of the earliest viral videos were that. Even with podcasts, a lot of true crime podcasts are horror podcasts.One hundred percent.There's another thing you write about in here that I genuinely just love, which is that there's no link between a filmmaker's experience and the actual profitability of the horror film. This is one of the things that makes this genre so cool, and I'd love to hear your perspective on it and some of the data from it. It's a really approve-yourself kind of genre. A lot of the time, you can show up with a little bit of money and some corn syrup and red food coloring, and they've been really special.Totally. It is the most accessible genre, partly because it has the lowest cost but also because it doesn't need gatekeepers. It doesn't need stars. It doesn't need visual effects. So it's immediately open to more people, but then on the other end, the audience is also willing to go with something great. They're not going to go, “Well, who made it?” They'll just go, “Ah, that was great.” You're right.I looked at the correlation between the number of films that someone had made before and the profitability of their films. I looked at it for writers, producers, directors, and exec producers. What we found, when we were looking through this, is that with writers, producers and directors, there's little to no correlation. Really. That's staggering when you think about it, because most horror films do nothing — that's what films do — and if you have a lot of microbudget films, that's 1,500 a year and not all of them making money. But the ones that do make money can do staggeringly well. You would imagine that experience is a factor, but it's not.Except for the exec producer. There was a correlation, though it's not the strongest. It's not make-or-break. I don't know which way around that is, whether it's exec producers being very good at spotting the right projects, so they become an identifier, or whether they transform the project and therefore become the transformation.Functionally, it doesn't matter. It's a bit of both: a bit of column A, a bit of column B. The horror producers I've spoken to often say it's a mix of those things, that they're not going to come aboard a bad project. But at the same time, it is about having the right relationships to know how to get distribution or how to retitle it or basically how not to eff up one contract that could ruin everything. Sometimes it is just a steady hand.If you're making a horror film and you've never done it before, I don't see that as any kind of problem, but maybe have at least one voice who's experienced that you can go to — infrequently, so they don't have to do a huge amount. The exec producer is not on set picking up trash.It's almost reminiscent of the Roger Corman film school stuff.Totally. The things that the really experienced person will do are basically, here's the big picture, here are some connections, but the bits the audience is actually going to love if they're given the chance to watch the film — the story, the acting, the moments, the editing, the sound — that's all going to be done by the creatives. And that doesn't matter about your experience.I remember an interview with Wes Craven a long time ago where they said to him, why are there so many bad horror films? And he said, because they're made by people who don't love horror. I've got to say, that's probably true. You can't make it cynically, but if you make it with your passion and heart, you have a good chance. Make a Western or a sports movie with your heart and you're not getting the money back. But if you make a horror film with your heart, there's a chance. I'm not saying there's a big one, but there's a route to success and establishment and franchise and all that.Sam Raimi very notoriously tread that path. Even folks like James Cameron. It's interesting to look at filmmakers who really did make their bones by being very passionate about a horror film and getting it done and learning something very cool.The Terminator might be a horror film. I don't know. It certainly doesn't have the money to be what Terminator 2 is, which is solid action.Absolutely.It's not really sci-fi; there's a bit of sci-fi in it, but it's just a man. It's too cheap to have any of the expensive things you'd expect. It's a torment film, or maybe even a slasher, almost. There is an infamous killer.There's another element on this that I wanted to bring up, which is that you have this really cool stat about horror films and shot length. You were able to compare them to other mediums, and horror films just have so much more room to breathe. Can you speak to that?Before I study something, I tend to have a preconception of what it's going to be, which you can't help because you're around. But what I love is that I'm sometimes completely thrown off-kilter. Then I'm forced to go back and be like, what happened there? Why was I wrong? Is my data wrong? Because, as you know, sometimes when you find that anomalous result, you have to double check or even triple check it.This was one of those things. What I found when I was looking at this was that, unsurprisingly, action and sci-fi films had the shortest shot lengths of about four seconds on average, or something like that. That's short, and that's the whole movie. That was across all films. Drama had the second highest, and it was something like 12, 13, 14 seconds — I can't remember, I don't have it in front of me. But horror was 16 seconds on average per shot.That's a long time. And that's an average. First of all, I thought it was an error and I went through it, but no, this is true. Then I thought about it, and of course it makes perfect sense, because horror is about what you can't see. It's about the lack of control. Action is about sound and fury and it's a firework show. You don't really need to know what's going on; you're just excited to be involved. Whereas horror is like, no, you're going to sit there and you can't see what's behind that thing. Or the reverse, which is that you can see it's approaching whoever's on screen, and they're getting closer. No, you can't look away. No, you can't warn them. It's about the control of the image.It might be one of the quintessential genres for film. You watch some films and go, eh, I should have read the book. But with horror, it's not on the page. You have to have the required elements, but it's made on the screen and it's made in the moment of the interaction between the screen and the audience. That's what shot length does. It's control. It's awesome.It is. You also think about Hitchcock movies, where there's an absolute control of the camera. That got boiled out of a lot of dramatic filmmaking and a lot of action-thriller filmmaking, but it's still there in horror because it still does something to us. That's an amazing stat. I like it a lot.It speaks to the medium. It's not a play that's been filmed, which is what drama can be sometimes. It's used entirely differently than in drama, where the camera's just rolling so you capture it. In horror, and in a good horror especially, it's being used by a craftsperson to paint a picture, to force you to feel. That's the bit that horror fans like: the strapping into the rollercoaster. Make me think I'm going to die, you know? That's it.I want to talk a little about content. You're able to do some really awesome content analysis on this stuff, and there are a couple different angles that you've tackled in the book. Some are about the kinds of monsters we see on screen. There was a cool stat in here about aquatic-based monsters and the rise of water as a medium of fear, which I'd love for you to speak to, but what are some of the monster stats that popped out at you? What are some of the things hunting us now that have evolved over time?Well, let's be clear. They're not actually hunting us; this is movies. It's so funny, because sometimes I have reflected and thought, oh my god, the world is — oh, no, these are the stories we're telling ourselves about ourselves.I did see a parallel between serial killers on screen and serial killers in the real world. That was one of the things I found. I was looking at serial killers in the graph over time, and there's a big peak in the '80s, and then I showed it to one of my colleagues at Guinness World Records. They nerd-sniped me and went, “I wonder if that correlates with the real world.” And I was like, well now I have to go and have a look, don't I? Thanks. I thought I was done with this topic.Going back to your monsters, it's interesting. Monster horror movies are two subgenres: There are horror movies, and then there are ones that have to do with monsters. Within that, I classified the monsters where they were flying, aquatic or land-based mammals. There are other bits around the edges, but this has to do with monsters rather than little creatures. I found that the land-based category is the biggest, but has been declining quite quickly over the last two or three decades. Shooting up almost out of nowhere — well, out of the ocean — are aquatic monsters. It's such a clear trend. It's definitely happening. Because I'm looking at decades, and the whole report looks over 27,000 films — not all monster films, but still, monsters is a big genre. So, this isn't an anomaly of the data of just two films.I've got two theories, but they are only theories. This is what I love about this data stuff: I'll do the data stuff, I'll present it to you objectively, and then we'll all sit around over a drink or some food and disagree about the why. My current two thoughts are, one, that environmentalism has changed what we think of as villains and what's unknown. It's changing our understanding of monsters and nature, and the ocean is more unknown. But two, a more practical answer came from a producer friend of mine. I was talking to her about this and she said it was quite expensive to make an aquatic monster without visual effects.What were the monsters you could have in, say, the 20th century? For most of the 20th century, it was a bloke in a suit, or it was ants on a small model. That's it, right? It looks cool, but it is a certain kind of thing, and water doesn't scale. You can't have a miniature because it just looks different. Water is incredibly complex from a visual effects point of view, as well as the way the beings move. If you put a guy in a suit and put him underwater, he's going to drown, because that suit's heavy. But you're freed up in the 21st century to use more visual effects. More are freely available, so now we can live out our aquatic dreams — and nightmares. And, because we haven't for most of history, there's loads more space. There are plenty of more dangerous fish in the sea.Those are my two working theories, but I have no idea. I would happily talk with people about it for hours, because it doesn't matter. That's what I like about this. This isn't instructive. It's not like we must figure this out because it's going to change what people invest in or anything. No, let's just have some fun and talk about movies.There's that scene in Ed Wood where they're like, all right, Bill, just get in there and flail.Exactly.The tech has got to be a part of it. I also thought it was really fun to dive into some of the stuff you had about clowns, because we are in the week where Terrifier is a box office champion. Unforeseeable, unless you potentially foresaw it.Well, it's at least the third in the series, so there's a certain amount of success that's gone on before. But I don't think anyone expected Terrifier 3 to do the kind of business it's done and Joker 2 not to. Those two coming out a few weeks apart have had such different journeys that it's quite dramatic.Terrifier 3 has done exactly what good horror films do. They've got a very clear idea that's been tested before and gone big on it. They know what they're delivering to their audience, which is shock. They've also got a great advertising campaign. From what I understand, from what I've read around, they did test screenings in some cinemas where they didn't tell the audience what they were going to watch. They were like, “It's a holiday film!” and then showed this grotesque film. Lots of people walked out. Some people threw up, apparently. Then, with the remaining people that stayed, they did the piece to camera afterward. Like, “What did you think of the movie?” But loads of people walked out. The viral marketing is spot-on.Clowns weren't a big feature of horror films until about the 2010s, when we started to see them creep up to 1 percent of films, which is quite a lot. I'm not that bothered either way by clowns. I certainly don't think they're fun, but I'm not terrified of them. In reading around, I found a study — I don't have it in front of me, so I can't quote it exactly — that they did on the fear of clowns. It was across many, many people across multiple countries, and they found that over half of people reported some fear of clowns. So I think clowns are inherently scary, and most people, like me, are ambivalent. Someone will get a clown for a kid's birthday party, and I'll go, oh, okay. Whereas some people are actually like, why?That's also what horror is supposed to do, right? Horror is supposed to take something that you feel is safe and make it unsafe, but then in playing out the unsafe, you'll have exorcised the demon that worried you. Therefore you now feel safe, perhaps, because your body thinks you've played with that demon. You've played with that thought.I don't know. It'll die down, it'll get tired and something else will come along. I can't even think what the next thing is. Probably an IT engineer, or something that doesn't feel scary. Though, mind you, you'd have to call that “IT,” and they've already done that with clowns.The SEO on that is quite bad.We'll work on that together off-pod so we can keep the copyright.Terrifier is great, though. It's not my kind of film, but they've done such a good job. Everything they've done, they've delivered to their audience, and they've also created a franchise and a character, so they will be making a lot of money. They've earned it, as far as I'm concerned. Not mine, though; not my money.I thought some of the stuff you wrote in here about survival as an increasing theme in these films was really interesting, which also goes well with what you had about body horror films and infection as a prominent way we deal with that. When the pandemic hit, a lot of films that saw quite a bit of pop were the ones that pertained to this idea of survival during infection and things like that. You had some really interesting, decade-long data.Before we wrap it up, what are some emerging trends? What are some of the charts that have been going up? As we think about the evolution of this really durable genre, where do you see this stuff going?You're absolutely right. The pinnacle of infection movies wasn't actually postpandemic, though we'll see what it will be for the rest of the current decade. 28 Days Later might be patient zero for that kind of movie. But you're right. What we saw during the lockdown was that we wanted to find meaning and structure to the narrative that was playing out in our lives. It wasn't coming from the media, and it wasn't coming from the scientists, because we didn't know. So there were films like Contagion that did such a great job.It's kind of spooky when someone predicts the future. We forget all the ones where they failed to predict the future, or they did a terrible job. Out of however many it was at that point, 20,000 horror films, one of them nailed the future. Mathematicians are rolling their eyes, but at the same time, we're in this emotional experience saying, oh my god. Gwyneth Paltrow went through that, so I can.But it was interesting, actually. There was a film that was shot before the pandemic called The Pink Cloud, a Brazilian film. It was shot in 2019, but it was then edited and ready just as the pandemic was happening. It was relatively low budget, and it's about a big pink cloud that comes over cities and forces everyone to live in lockdown. It's a film about being in lockdown and it was just coincidence. It's great art, but it was just coincidence. It played at Sundance the year it was not physical — either 2020 or 2021, I can't remember. But it was amazing. The timing was sort of weird, and I think that adds an extra spookiness to it.Speaking to your point, obviously there are loads of films that talk about lockdown and infection, but not nearly as much as you'd think. We're done with it. “I get enough of that at home,” if you see what I mean. What is interesting in the trends is that, you're right, survival has gone up, but one of the biggest things that's gone down — which I think is really interesting. This is over almost 100 years of content — is how people are thinking about the brain or the mind.We're seeing fewer films where the brain is being attacked or madness is the cause of the psycho, and we're seeing far more understanding, like maybe they had a bad childhood. I think it's a strong story of mental health moving on from being the thing that you're scared of. You could read Foucault, you could look at 12 monkeys — there are lots of films that have played with this idea of madness and what sanity is. But largely we've moved away from, “He's mad, run away,” to, “He's mad. Let's listen to what he's got to say and try to understand him as a real human being.” That's really interesting. I don't know where that goes, but that's been a very clear trend over almost 100 years of horror films.That is fascinating. Again, so much of horror is interior-looking. A lot of the things that we're scared of and that are played up are more reflections of our own state of mind and our own fears. If we're not worried about madness being contagious in a Lovecraftian way, that is super interesting.Exactly. Throughout all of literature and all of art, madness has been fascinating. Up until a certain point, maybe 500 years ago, it was seen as a root to the divine or harmless. Then at some point, when you start having authority figures in certain ways, you need to shut down the anti-voices. It started to become something terrifying that you lock away, like it might be infectious and a problem.Then, more recently, we start to think about how actually we're all a bit effed up. There are reasons behind this. We can do something about this. It's not mad to go and see a therapist, or a psychotherapist, or whatever it might be. That then speaks to, well, you can't have the motivation of a slasher be that he's mad. It doesn't work; it's just not credible.You need to have a different origin, and you go one of two ways: You either give a lot more context, like he went through this horrific thing as a kid, or you say it's unknown. It's just unknown. It's a man in a mask. What's terrifying is the lack of knowledge, or it's too much information. Each film takes a different route on that.All right. This book is really good. It's called The Horror Movie Report, and it looks at all those different ways these movies take and the history of this stuff, which I think is one of the most fascinating things. Horror in general is just such a cool genre.Stephen, I would love to hear you pitch where folks can find you and where things are going. Tell folks a little about the book and where they can get ahold of it.Thank you. That's high praise indeed, because you're someone whose work I respect a huge amount. That's really cool. You're someone who actually can find the holes in it.If you go to HorrorMovieReport.com, you can get there. It's all digital at the moment; I'd love to do a coffee-table book of it, but that will take a bit of time. I've put it out in two editions. One is for film fans, and it's much cheaper, like 20 bucks. That'll give you the 400 pages and all the charts and graphs. If you love horror films, that's enough. If you're a filmmaker or a data geek, you'll want the film professional version, which is only a little bit more. That gives you all the data as spreadsheets, as well as some bonus reports.I've got different constituencies. Some people just want a pretty graph and then argue about aquatic monsters; others are like, give me the data. So here you go! And by all means, reach out to me if you've read something you want more detail on. I love this stuff, and if you love it, too, we're going to get on. Grab a report, and if you want to reach out, I'm not hard to get hold of.Terrific. Again, your stuff is always so good. People will know it from the newsletter if they've read it long enough. It's great stuff. Thanks again for coming on, I really appreciate it.My pleasure. I'm always here. And if anyone listening has a question about the film industry, if you think there's some data out there somewhere but can't bother to do it, someone else will do it — contact me. The best stuff I do comes from readers, the 4 o'clock in the morning ideas, the shower thoughts. Reach out, I promise I'll give it a go.Amazing. Stephen, have a spooktacular day.Nice.Edited by Susie Stark.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news.  This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe

The story of my two tattoos, esp the lousy Star Wars one that I have that I'm too much of a pussy to get fixed. (For now) The story of this guy that had his amazing scenes cut from Return Of The Jedi, and how it must have impacted his life. I met the most Evan-y Evan of all time. The Ed Wood screening, with Dana Gould.

Our main feature is Strange Darling. We're also reviewing Mr. Crocket, From, Woman of the Hour, The Curse of Frankenstein, Nightbreed, Ed Wood, Bell from Hell, and Night of the Bloody Transplant.

Send us a textThree obscure Radio Hosts and an intern are sent to the Appalachians, where they discover a remote community dominated by witches and led by the sinister local demon, the Crooked Man who seem to appreciate their inane brand of rambling. On Episode 638 of Trick or Treat Radio we discuss the latest cinematic adventure of the Right Hand of Doom, Hellboy: The Crooked Man directed by Brian Taylor! We also talk about the immense success of Terrifier 3, take a look at the new Street Trash trailer, and learn who is on the dirty Mount Rushmore! So grab your witch balls, ready your lucky bone, and strap on for the world's most dangerous podcast!Stuff we talk about: Wacky Florida, Universal Studios, Dark Universe, Universal Monsters, plummeting ratings, RIP Liz Wilde, WAAF, Lobster Zone, piercing the Christmas Pie, Tunnel Drill, talking all Raw, Furious Dance, Ryan Kruger, Fried Barry, Street Trash, J. Michael Muro, James Lorinz, Scare-A-Con, Terrifier 3 - #1 film in America, David Howard Thornton, Mean One, Larry Zerner, iconic horror characters, Saw, Texas Chainsaw Massacre, All Hallow's Eve, Taylor Swift, Juggalos, Aaron Pierre, Rebel Ridge, yoga kill in In A Violent Nature, Godzilla Minus One, Fangoria Chainsaw Awards, Late Night With the Devil, David Dastmalchian, the hardcover sex films of Ed Wood, Tor Johnson, Bela Lugosi, winner for your wiener, George Segal, The Goldbergs, Wendi McLendon-Covey, Terror Firmer, Kerri Kenney, Joe Lo Truglio, Outpost, Stephen Scarlata, Jodorowsky's Dune, Sharksploitation, Best Movies Never Made, Reno 911, Niecy Nash, $40 candy bars, Roblar from Mars, Right Hand of Doom, Mom and Dad, Ghost Rider: Spirit of Vengeance, Crank, Words and Pictures Museum, Brian Taylor, Christopher Golden, Mike Mignola, Jack Kesy, Bernie Wrightson, Hellboy: The Golden Army, Guillermo del Toro, Batman Returns, Neil Marshall, Ron Perlman, Swamp Thing, Toxic Avenger, Hellboy, Starman, Chilling Adventures of Sabrina, Mortal Kombat II, John Woo, Takashi Miike, Luc Besson, Abel Ferrara, The Dirty Mount Rushmore, The Night Comes For Us, Timo Tjahjanto, The Shadow Strays, Hellboy unplugged, and Cocktober's not till manana.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Ed Wood (1994) Directed by Tim Burton Starring Johnny Depp and Martin Landau Because of his eccentric habits and bafflingly strange films, director Ed Wood (Johnny Depp) is a Hollywood outcast. Nevertheless, with the help of the formerly famous Bela Lugosi and a devoted cast and crew of show-business misfits who believe in Ed's off-kilter vision, the filmmaker is able to bring his oversize dreams to cinematic life. Despite a lack of critical or commercial success, Ed and his friends manage to create an oddly endearing series of extremely low-budget films.

This week as we continue Spooky month we get a little "Oscarie" with 90s Ed Wood! What will we think of this Tim Burton and Johnny Depp collaboration? Will it be a horrifying good time? Tune in to find out as we SHOOT THE FLICK!!!! --- Support this podcast: https://podcasters.spotify.com/pod/show/shoottheflick/support

This week we review and discuss "Ed Wood" as it celebrates its 30th anniversary. Who did Johnny Depp use as motivation for his character? What makes this one different from Tim Burton's other films? How does this compare to other bipics? All of that and more this week on Monoreel Radio. Join the conversation on social media @monoreelradio on all major platforms, or send us an email at monoreelradio@gmail.com. For links to anything you heard on the show, visit our website and if you want to experience the Disney magic for yourself, click here to start planning your next vacation. 

This week in the last video store near you The Admirable Admiral and But Maestro get together in the break room to discuss Ed Wood from 1994.

The greatest movie ever about making movies, Sonic meets Knuckles, rush vs drag, TV's greatest Flash, and more.  https://www.patreon.com/lasertime

Who was Ed Wood? This infamous auteur gathered a cult-following, a precursor of the “Ed Breen”s and “Tommy Wiseau”s of today. In this movie, Johnny Depp plays Ed Wood, an artist fighting the Hollywood machine, fighting societal expectations, and fighting for his friends. This highly quotable movie features lots of laughs, heartbreak, and otherwise obscure Hollywood history. Plan 9 From Outer Space (1959) Glen or Glenda (1953) Hey there!  Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts! Join the Club! Join the discussion:  Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter  |  Instagram  |  Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to “HALLO-WEENIE” week 3 as we get really deep into our pumpkin guts discussing our annual times with Beyond Fest, Austin's burgeoning political career, and so many banger new and re-watches it's honestly disgusting, all leading up to our discussion of the new Halloween classic, COBWEB (2023)!   00:00 - 9:00ish - Intros & Friendship - the results of our Hubie Halloween poll are in, plus Austin gets a campaign slogan   9:00ish - 1:04:00ish -  The other stuff we've been watching!   Cody - The Substance, Speak No Evil (2024), Azrael, Abigail, Terrifier, Terrifier 2, Terrifier 3, and Hubie Halloween (x2)   Austin - Death Becomes Her, Addams Family Values, Creepshow, Insidious Chapter 3, Salem's Lot (1979), Signs, Paranormal Activity 2, Rebel Ridge, Stopping the Steal, January 6th, and After Truth: Disinformation and the Cost of Fake News (Austin's ok, we promise)   Curtis - The Substance, Speak No Evil (2024), Terrifier 3, The Craft, Elvira: Mistress of the Dark, The Wolfman (2010), Return to Oz, Exorcist 2: The Heretic, Exorcist: The Beginning, Dominion: Prequel to The Exorcist, An American Werewolf in London, Salem's Lot (2024), Devara: Part I, Bubba Ho-Tep, Ed Wood, Buffy the Vampire Slayer, Darkman, The Quick and the Dead, and  Drag Me to Hell   Lucas - The Substance, Terrifier 3, Rebel Ridge, Jonah Hex, From Dusk ‘Til Dawn, Death Proof, Killer Heat, and Saturday Night   1:04:00ish - 1:41:00ish - COBWEB (2024) SHUDdown and discussion!   1:41:00ish - End - Our next movie reveal and the last movie in our series, “HALLO-WEENIE!”

Patrick and JB check in to Room 237. Download this episode here. (36.9 MB) Listen to F This Movie! on Apple Podcasts. Also discussed this episode: Dressing Up Halloween: The Ben Cooper Story, Hush (2016), Ed Wood (1994), The First Omen (2024), Grave Torture (2024), End of the Line (2007)

GGACP celebrates the 30th anniversary of the classic comedy-drama "Ed Wood" (released September 28, 1994) with this ENCORE of an interview with the film's screenwriters Scott Alexander and Larry Karaszewski. In this episode, Scott and Larry talk about the Ed Wood-Bela Lugosi relationship, the exuberance of Milos Forman, the bizarro cinema of Rudy Ray Moore and their Eddie Murphy vehicle, “Dolemite is My Name.” Also, Jim Carrey pranks Danny DeVito, Tim Burton befriends Vincent Price, Ray Walston “replaces” Peter Sellers and Scott and Larry remember the late, great Martin Landau. PLUS: Appreciating Robert Morse! The legacy of William Goldman! Mae West seduces 007! The Marx Brothers meet the Master of Disaster! And the boys pick their favorite big-screen biopics! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jurandir Filho, Thiago Siqueira, Rogério Montanare e Fernanda Schmölz batem um papo nostálgico sobre o ano de 1994 nos cinemas. Esse podcast é mais uma edição da série “We Have to Go Back“, onde voltamos no tempo e revisitamos os grandes filmes de um ano específico. Além disso, é um programa nostálgico, pois relembramos os acontecimentos desse ano, as músicas, os jogos, as evoluções tecnológicas e muito mais. Falamos sobre "Um Sonho de Liberdade", "Forrest Gump - O Contador de Histórias", "O Rei Leão", "Pulp Fiction - Tempo de Violência", "Entrevista Com o Vampiro", "O Profissional", "Velocidade Máxima", "True Lies", "Priscilla, a Rainha do Deserto", O Máskara", "Ed Wood", "Debi & Lóide - Dois Idiotas em Apuros" e mais. 00:00 Abertura e Anúncios 05:19 Acontecimentos de 1994 36:43 Filmes de 1994 == || ASSINE AGORA A NORDVPN!!- Quer uma Internet segura? NordVPN é pra você!!! LINK DA PROMOÇÃO https://nordvpn.com/rapaduracast || ASSINE O SALA VIP DO RAPADURACAST- Um podcast EXCLUSIVO do RapaduraCast toda semana! http://patreon.com/rapaduracast

This year marks the 30th anniversary of Tim Burton's Ed Wood. It tells the story of the real life man that directed some of the worst films ever made. It explores his various romances and his friendships with people like Vampira, Criswell, and of course Bela Lugosi. But how true is this story? Tony and Angela are here to find out!

This month's Out Now with Aaron and Abe commentary track is perfect. No more takes. Print it! The Brandon Peters Show's Brandon Peters and The Outside Scoop's Scott Mendelson join Aaron to discuss Ed Wood from director Tim Burton in honor of its 30th anniversary, among other reasons. Listen in to hear the group discuss what makes this movie such a great biopic, why Burton is such an ideal voice for this subject, what makes both Burton's films and Wood's efforts unique, and what works about Johnny Depp, Martin Landau, and the other vital performances. And, of course, there are also plenty of tangents. So now, if you've got an hour to kill… Follow all of us on Twitter: @Outnow_Podcast, @AaronsPS4, @WalrusMoose, @ScottMendelson, @Brandon4KUHD Check out all of our sites and blogs:  The Code Is Zeek, Why So Blu?, The Brandon Peters Show, The Outside Scoop Watch the Trailer for Ed Wood Watch Plan 9 From Outer Space

“Push the button, Frank!” GGACP celebrates the birthday (August 30) of writer, comedian and actor Frank Conniff (“Mystery Science Theater 3000”) by revisiting this funny conversation from 2017. In this episode, Frank shares selections from his new book of MST3K-related essays and gives his take on topics ranging from Superman's Jewish roots to the outsized cinema of Bert I. Gordon to the meta-comedy of Art Metrano. Also, Jack Webb directs, Pia Zadora meets Kris Kringle, Frank defends Ed Wood and Gilbert hangs with Sid Melton. PLUS: Richard “Jaws” Kiel! The Rip Taylor Trio! “Monster a Go-Go!” Billy Wilder teams with the Marx Brothers!? And the worst musical ever made! Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP celebrates the birthday of legendary actress and Gilbert favorite Maria ("The Wolf Man") Ouspenskaya (b. July 29, 1876) with this ENCORE of a funny and informative mini-ep from 2018. In this episode, the boys shoot a silver bullet through the heart of some lesser-known and less successful werewolf flicks, including "Wolf," "She-Wolf of London," "Face of the Screaming Werewolf" and the unforgettable “The Rats Are Coming! The Werewolves Are Here!" PLUS: Remembering Glenn Strange! In praise of Larry Cohen! David Janssen plays a lycanthrope! And George Zucco visits Ed Wood! Learn more about your ad choices. Visit megaphone.fm/adchoices

Legendary voice actor Maurice LaMarche joins Matt to talk about his voice over roles in Space Jam, Ed Wood, and the countless other great voice over performances in his career. Maurice tells us about doing the voice for Vincent D'Onofrio's portrayal of Orson Welles in Tim Burton's film Ed Wood, how Billy West helped him with the Pepe Le Pew role in Space Jam, and getting the role of Brain in Pinky and The Brain on the spot. Stick around for the outstanding burps at the end! Hosted on Acast. See acast.com/privacy for more information.