Podcasts about Fantastic Planet

this one has always been a favorite. its cute and funny and canadian. and the guys enjoyed it as well. this is part of our CRAZY CARTOONS month. next week is FANTASTIC PLANET.

A throwback to one of the all-time great psychedelic sci-fi scores with Alain Goraguer's Fantastic Planet, plus a wide-ranging mix of hazy beats, neo-classical explorations, shoegaze blasts, and other arguably AM-appropriate sounds. Hope you enjoy it all.Playlist: Shuta Hasunuma - DesignersAkusmi - Oblique IJOYFULTALK - Part I • I've got that trans-dimensional feeling againMelodien - PhantomGoGo Penguin - Fallowfield LoopsAsta Hiroki - UnderstandingHarrison - Come AliveKogane, Thomas White - PeacemielBonobo - RingsDomenique Dumont - Visages VisagesDirty Art Club - Vogue ApparitionThe Dirty Sample - Just OneUnderground Wires - The Luau Beat (Sinister Party Atmosphere)Test Card - Cassette EarsArms and Sleepers - MuseDalham - ChalkAlain Goraguer - Les fuséesAlain Goraguer - Déshominisation (I)Peggy Lee, Cole Schmidt - fall rideFranck Dervieux - Dimension "M" (Pour Moebius)Okonski - Summer StormBADBADNOTGOOD - Weird & WonderfulModern Nature - PharoahThe New Eves - Rivers Run RedDaphne's Demise - Food for the WormFortunato Durutti Marinetti - Full of FireDeradoorian - Set Me FreeGwenno - Dancing on VolcanoesDisiniblud, featuring Julianna Barwick - Give-uppingwihtikow - rust (remaster)No Joy - BuglandSIANspheric - Ending is Better Than MendingThe Radiation Flowers - Spaceship

Denne uka har vi sett mye animasjon! Vi diskuterer søttitalls-kultfilmer med Fantastic Planet og andre kortfilmer av regissøren René Laloux, og snakker om den nye, veldig oskarnominerte Flow, som Samuel og Brage hadde mye å si om :)) Ellers har Astrid sin siste sending før sommeren, og har vært på Cinemateket og sett fransk nybølge! Hør hør! I studio: Astrid Johanne Sørnes, Brage Merkesdal, Samuel Starck Sjøen

With the throwback gratification of Failure's "Fantastic Planet" rolling throughout, the gearhead goons at the Garage Hour start out gritty with the bucket (or well-sorted trays) of backup bolts that every good geek has in the garadtch.  Note: if that pile of bolts (and rags, and parts, and tools) is getting dusty, you're not making enough - time to build, boys and girls.  There's also a look at the trannie nutjobs who are blowing up cars and dealerships, the politics of production (with perspectives from pinko China and politicized capitalism), and why race fans have very little interest in electric race cars (and still line up for vintage Trans Am, Thunderboats and NASCAR). Want more?  Miniaturized spyware in your USB cables from Tom's Hardware (and a look at when Western civilization figured out that SMALLER is more G-resistant), a retreat from cashless society in Europe, and the importance of protecting your data from the crazies, because they are what they do.

With the throwback gratification of Failure's "Fantastic Planet" rolling throughout, the gearhead goons at the Garage Hour start out gritty with the bucket (or well-sorted trays) of backup bolts that every good geek has in the garadtch.  Note: if that pile of bolts (and rags, and parts, and tools) is getting dusty, you're not making enough - time to build, boys and girls.  There's also a look at the trannie nutjobs who are blowing up cars and dealerships, the politics of production (with perspectives from pinko China and politicized capitalism), and why race fans have very little interest in electric race cars (and still line up for vintage Trans Am, Thunderboats and NASCAR). Want more?  Miniaturized spyware in your USB cables from Tom's Hardware (and a look at when Western civilization figured out that SMALLER is more G-resistant), a retreat from cashless society in Europe, and the importance of protecting your data from the crazies, because they are what they do.

Katie has asked Scarlett to watch a lot of international animated films, but this one from the same team that brought you “Fantastic Planet” is…hmmm. Not “Fantastic Planet.” Tune in as the Ani-Mates discuss “Gandahar,” ask big questions like "what is Christopher Plummer doing here", and try to figure out just what exactly is going on here and why the Amazon subtitles are so very bad.

From the clouds, Sage picks 1973's French-language film Fantastic Planet for our next movie to review. All three hosts' viewing experiences differed: one fell asleep, one watched it high, and one stayed awake and sober. This movie was directed by René Laloux. GD4AM: 77/100 IMDb: 7.7/10 Metacritic: 73/100 Letterboxd: 4.0/5 RT: 91% On a faraway planet where blue giants rule, oppressed humanoids rebel against their machine-like leaders. This movie is currently streaming on Max. NEXT MOVIE REVIEW: The Sacrifice (1986), which is currently available for rent on most VOD platforms.

In 1987, the French adult animation industry reached its end with the release of Gandahar, the last in a line of visionary films tracing back to the legendary Fantastic Planet. Gandahar unveils an alternate world—a world where France, rather than Japan, became the powerhouse of adult animation.

In 1987, the French adult animation industry reached its end with the release of Gandahar, the last in a line of visionary films tracing back to the legendary Fantastic Planet. Gandahar unveils an alternate world—a world where France, rather than Japan, became the powerhouse of adult animation.

Symbiosis/Dysbiosis: Sentience Live performance - Nanotopia pays homage to Klaus Schulze, Tangerine Dream and one of their favourite movies, Fantastic Planet. Imagine stepping into an old-growth forest, where your EEG data and the bioelectrical activity of living Mycelium influence the world around you. Symbiosis-Dysbiosis: Sentience is a groundbreaking immersive XR installation in which participants embark on a quest to connect with the Mycelial Entity at the heart of the interconnected forest. It offers a unique perspective on the delicate balance between humans and the non-human organisms around us. Embark on an interactive journey where your choices determine the environment's response. Your decisions can lead to either symbiosis, fostering evolution and new awareness, or dysbiosis, resulting in a cascade of adverse outcomes. This dynamic experience places you at the heart of a living, breathing ecosystem, a powerful reminder that everything is interconnected and that your actions matter. Symbiosis/Dysbiosis: Sentience invites audiences to slow down and experience an interconnected, psychedelic forest adventure through whimsical storytelling, live actors, and an evolving soundscape. It reminds us that the future depends on our ability to recognize our connection to the non-human world. Combining real-time fungal biodata streams with EEG data from Guests, haptic sensations, and scent emitters triggered by the living fungi create an environment where participants feel, perceive, and interact with the microscopic connections formed within us, on us, and around us. Within the expanded reality installation, Nanotopia creates an evolving Quadraphonic and 4D soundscape with living Mycelium that is directly connected to a custom synthesizer and bio-electrically connected to the virtual environment. Actors, embodying the spirits of the forest, will guide you through this immersive experience, making you feel like an integral part of the narrative. Live performance took place for Earth Modular Society https://youtu.be/E0iLBkuhH-s?si=n2RD3fr7xnAhmDL0 Full album coming 2025!

Josh King is a sibling, a husband, a father, and an insanely intelligent human being. He mans the six-string, the vocals, and the mixing for the band, Low Forest, and he's my guest for Episode No. 132.Josh and I talked growing up and education, Missouri-style. We touched on Low Forest's fascinating collection of releases on Bandcamp, where to follow them (Spotify, Apple, YouTube, Facebook, and TikTok, and we had a peek at a few of Josh's favorite albums, which were these:Hum's You'd Prefer an Astronaut (1995)Fantastic Planet (1996), FailurePortishead's Roseland NYC Live (1998)Small Explosions That Are Yours to Keep (2005), Mitchell AkiyamaElder's Reflections of a Floating World (2017)The fact that Josh has a super-sharp mind, a warm-and-open heart, and might very well be a vessel for delivering space rock to Kansas City may or may not be related to the fact that he is a pretty soft-spoken fellow. One would think that I'd be able to recognize that early enough in the conversation to adjust the levels at this point, but...it's not easy being the 2024 version of Al Franken's Mobile One-Man Uplink Unit. So, apologies if he's tough to hear at times.It was a true pleasure meeting Josh, and knowing that his presence is out there adds to my occasionally stout belief that there's good in the world moving things in the right direction.Thanks for tuning in.copyright disclaimer: I do not own the rights to the audio samples contained within this episode. They are cuts from a tune called, "Witchoo," by Durand Jones & The Indications. I lifted it from their 2021 release, Private Space, which exists for us c/o Dead Oceans.

On the 393rd episode of Piecing It Together, we are LIVE from Maya Cinemas in Las Vegas with guests Knik Woods, Jimmie Gonzalez and Jake Gonzalez to talk about Alien: Romulus! Fede Alvarez takes over the Alien series with a new film set between the events of Alien and Aliens and it gets intense! Puzzle pieces include Rogue One: A Star Wars Story, A.I.: Artificial Intelligence, Fantastic Planet and Eight Legged Freaks.As always, SPOILER ALERT for Alien: Romulus and the movies we discuss!Written by Fede Alvarez, Rodo SayaguesDirected by Fede AlvarezStarring Cailee Spaeny, David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, Aileen Wu20th Century Studioshttps://www.20thcenturystudios.com/movies/alien-romulusKnik Woods is a Writer, Director, and Cinematographer, as well as the founder of the Sin City Horror Club.Check out Knik's work at https://linktr.ee/ghostchaserproductionsAnd follow the Sin City Horror Club on Instagram at @sincityhorrorclubJimmie Gonzalez is a DJ and hosts SpaceToonz and Nightmare Trivia.Check out Jimmie's Facebook at https://www.facebook.com/spacetoonzpresentsAnd follow Jimmie on Instagram @spacetoonzJake Gonzalez is Jimmie's son and is a film critic and 17 year old cinephile.Check out Jake's writing on Letterboxd at https://boxd.it/3g50PAnd follow Speaking On Flicks on Instagram @speakingonflicksMy sixth album, MORE CONTENT is available NOW on iTunes, Bandcamp and all other digital music stores! Make sure to check it out!My latest music is the 24 for 2024 series in which I'm releasing a new single on the 1st and 3rd Fridays of every month in 2024. 24 new songs total. Follow along on the Spotify Playlist at https://open.spotify.com/playlist/4PDKoUQ1CoFpiogLu2Sz4D?si=3cb1df0dd0384968My latest music video “Burn" which you can watch at https://www.youtube.com/watch?v=UxKAWFm0gAoThe song at the end of the episode is "Careless" a new track from my 24 for 2024 series.Make sure to “Like” Piecing It Together on Facebook at http://www.facebook.com/PiecingPodAnd “Follow” us on Twitter @PiecingPodAnd Join the Conversation in our Facebook Group, Piecing It Together – A Movie Discussion Group.And check out https://www.piecingpod.com for more about our show!And if you want to SUPPORT THE SHOW, you can now sign up for our Patreon at https://www.patreon.com/bydavidrosenYou can also support the show by checking out our Vouch store where we're...

This week we put on our longlegs and worship our favorite man downstairs cause we are reviewing the highly anticipated Longlegs. We also discuss Castle in the Sky, Fantastic Planet, and Deadpool. All while drinking Cage's Castles. An imperial IPA by Toppling Goliath Brewing Company, out of Decorah, Iowa. Intro and Beer Selection 0:00-16:13 Longlegs Review 16:13-50:22 Nano Reviews 50:22-1:08:33 Outro 1:08:33-1:12:33 Subscribe to our Patreon for premium episodes! Like us on Facebook! Follow us on Apple Podcasts! Follow us on Spotify! Follow us on  Podbean! Follow us on Instagram! Follow us on TikTok! You can buy individual premium episodes on our Bandcamp! Send your questions and comments to sudsandcinemapodcast@gmail.com Logo and Artwork by @djmikeholiday  

I have always has a soft spot in my heart for the art of animation ever since I was a child. That love has never gone away and it's the genre of film that can really take any shape and any genre. Today my guest D.J. from Films By Color and I will talk about Fantastic Planet From The Criterion Collection as well as how organizing your collection is just another vessel to show off your personality. Follow my Boutique Talk Podcast on Spotify - https://open.spotify.com/show/5vsBLGh... Here Is My LinkTree - https://linktr.ee/Steelbookobsessed?u... Follow Me On TikTok - https://vm.tiktok.com/TTPd6v1sda/ Follow Me On Instagram - / steelbookob. . Intro Music is Honey Jam By Massobeats - • massobeats - honey jam (lofi aestheti...

⁠⁠Join our PATREON for bonus episodes.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ This week we have music industry strategist and member of Lost Decades Kodi McKinney on to talk about the Failure album Fantastic Planet. We also talk about: what was bushwick smoking, a vehicle for sauce, indie week scene report, AI (revisited), cha cha, HQ guy, album campaign spending, instagram bands, cheating the algorithm, Marauder, creative energy, Spotify (bad), post-hardcore hat, gatekeeping through mystique, enshitification, LinkedIn titles, the Weezer canon, Stuck on You, Ken Andrews lyrical style, rig rundown, Heliotropic, and so much more. ________ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Order our post-hardcore hat here!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ // Follow us at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@danbassini⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@mysprocalledlife⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, @kodimckinney ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@runintotheground⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

On Today's Show Vince will Rate and Review: Fantastic Planet (1973),  The Last Unicorn (1982),  The Thief and the Cobbler/Arabian Knight (1993/1995),  Inside Out (2015),  Inside Out 2 (2024)   If you'd like to become a Producer and donate, or see more movie reviews, check out thedailyratings.com   TimeCodes: Fantastic Planet:  3:39 The Last Unicorn:  16:48 The Thief and the Cobbler/Arabian Knight:  31:24 Inside Out:  49:32 Producer Thanks:  1:06:04 Inside Out 2:  1:15:57   Executive Producer:  - Matt D.

This week, The Break is back! On this episode of The Criterion Break, we briefly chat about two recent Criterion titles that played the State Theatre in Sioux Falls, Fantastic Planet and My Own Private Idaho. We then dive into this week's feature as we take a look at two musicals from the mind of French filmmaker, Jacques Demy. First on the list, the pastel melancholy of The Umbrellas of Cherbourg, followed by the candy-coated confection that is The Young Girls of Rochefort. Find out just how dazzled we were by these incredible films!Blake can be found on Letterboxd @therealjohng and on Instagram @blakeg_5150 Derrick can be found on Instagram AND Letterboxd @dervdude.Follow Fat Dude Digs Flicks across social media:Facebook - Fat Dude Digs FlicksInstagram - FatDudeDigsFlicksTwitter - FatDudeFlicksTikTok - FatDudeDigsFlicksLetterboxd - FatDudeFlicksSubscribe to this podcast on Apple Podcasts, Spotify, Amazon Music, Goodpods, or wherever you get your podcasts. Search for Fat Dude Digs Flicks and click on that subscribe button. Please take a second to rate and review the show, while you're at it!Subscribe to the Fat Dude Digs Flicks YouTube channel and send a thumbs up or two my way!If you'd like to contact me for any recommendations, questions, comments, concerns, or to be a future guest, you can send an email to FatDudeDigsFlicks@gmail.com. Support the Show.

This week we discuss our favorite horror movies and review Jack White's Blunderbuss album and the movie Fantastic Planet. --- Support this podcast: https://podcasters.spotify.com/pod/show/ohnonotthempod/support

René Lalou's timeless (well, maybe not exactly) hand drawn science fiction epic turns a skeptical eye on human systems of power in an unimaginable world of inhuman blue giants (that are somehow even more human).  You know: it's your basic Jack and the Beanstalk meets Avatar situation.  With better (by which I mean funkier) music. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing Bobcat Goldthwait's Shakes the Clown (1991).

The good days are long past for Chan and Leung, a couple slowly drifting apart, and losing themselves in the oncoming wave of modernity consisting of unemployment, debt, loneliness, and alienation.  But since Edward Yang directed it, somehow it's all beautiful. Join our  Patreon and support the podcast!  Join the Random Acts of Cinema Discord server here! *Come support the podcast and get yourself or someone you love a random gift at our merch store.  T-shirts, hoodies, mugs, stickers, and more! If you'd like to watch ahead for next week's film, we will be discussing and reviewing René Lalou's Fantastic Planet (1973).

Join the gang of lovable losers as we talk, Fantastic Planet Watch the live stream every week, Youtube.com/@totallytoonular Join the conversation! Email us at totally.toonular@gmail.com. Send us recommendations or tell your feelings on any cartoon we've talked about. We will read your email live on air! And Subscribe to our YouTube @Totallytoonular Follow @Fantasyshed @ih8_prettyh8machine @yarn_yeti

On the 8th episode of Bomb Squad Matinee, Ethan, Rein, Tim, Tanner, Austin, and special guest Lauren Divito discuss René Laloux's animated sci-fi classic Fantastic Planet. How does the film hold up 50 years later? How do its themes relate to current events? What do we think of the animation and visual design? Tune in to find out! --- Support this podcast: https://podcasters.spotify.com/pod/show/bombsquadproductions/support

Tom and Jenny discuss an experimental animated film from 1973, originally known as La Planète sauvage, about a planet where humans are little more than tiny vermin and pets for their giant alien masters. Audio version: Video version: Please support us on Patreon! Don't forget to subscribe to our YouTube channel, like us on Facebook, and follow us … Continue reading Movie Time: Fantastic Planet (1973)

In honor of the release of THE BOY AND THE HERON, we're taking a look back at our STUDIO GHIBLI twofer of fantastic animated brilliance! First up, we talk about a HAYAO MIYAZAKI film that actually predates Studio Ghibli, NAUSICAA OF THE VALLEY OF THE WIND (1984)! It's an epic fantasy in a strange world that will make fans of HEAVY METAL and FANTASTIC PLANET feel right at home!Join us for Part 1 of our "GHIBLI DOUBLE-SHOT" on this week's episode of CULT and CLASSIC Podcast!Listen: Wherever you get your podcasts & at cultandclassicfilms.com/Watch: youtube.com/@CULTANDCLASSICFILMS/Subscribe at patreon.com/cultandclassicfilms for EXCLUSIVE cult movies sent to you every month!Buy exclusive films at cultandclassicfilms.com/Host: Nate WyckoffPanelists: Tad Mastroianni, Jeff Tucker, Mandy Longley & Greg Johnson

In Episode 11, hosts Drew Lyon & Door Man engage in a "spoiler free" discussion of the upcoming films within the January 2024 Revival Program at the Academy Theater.  DEC 29 - JAN 4: INTERSTELLAR (2014) // A CLOCKWORK ORANGE (1971). JAN 5-11: FORBIDDEN PLANET (1956) // FANTASTIC PLANET (1973) [International Series]. JAN 12-18: TOTAL RECALL (1990) // MARS ATTACKS (1996). JAN 19-25: THE THING (1982) [Horror Series] // E.T. (1982). JAN 26- FEB 1: GALAXY QUEST (1999) // THX 1138 (1971) [Deep Cut Series].  Take a listen and get excited to see these movies on our Big Screen! Note: If you are curious about general info about this podcast and the Academy Revival series, please refer to our "Episode 0: Listener Orientation". This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit academyrevivalpodcast.substack.com

This week we go galloping back to the late 90s to deep-dive what we both consider to be a perfect album, Failure's Fantastic Planet.  What would've happened if they never broke up?  Gather around and enjoy us going track-by-track on an album that's near and dear to both our hearts.  Cheers! Instagram: Email:  Voicemail:  267-297-4627 Twitter: Facebook Group: Tim Twitter:  Jay Twitter:  Youtube Channel: Spotify Playlists:   

Blast back to the 1970s with Steve and Halle on this anniversary edition of Astronomy Daily! The hosts fondly remember seeing the animated sci-fi classic Fantastic Planet paired with the Pink Floyd surf film Crystal Voyager one fateful summer night. From this nostalgic launch pad, the episode tours current events like Hubble's ongoing gyroscope drama, the potential link between fast radio bursts and hypernebulas, SpaceX's routine Starlink mission, and the European Space Agency's announcement that the long-delayed Ariane 6 finally has a launch date. It's a fun mix of retro sci-fi memories and cutting-edge space news.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5648921/advertisement

This time, we're tackling space operas with BIG BLUE aliens, imperialism, and a dash of exotic flora and fauna on the podcast.  First up, is the 1973 psychedelic animation "Fantastic Planet" (or in French "La Planète Sauvage") from René Laloux. Then we fast forward to 2009 to discuss James Cameron's blockbuster hit "Avatar" and its groundbreaking technology.   Visit our website https://www.journeythroughscifi.com/ Email Us! Follow us on TWITTER Add us on INSTAGRAM Like us on FACEBOOK Follow us on LETTERBOXD Support the podcast on PATREON

Two episodes in a week?! What a treat. Brad Garoon & Jake Ziegler are back with a look at the films of 1973. The two movies discussed come from different countries and represent popular film movements coming out of each. Jake assigns Brad Hal Ashby's The Last Detail, a road movie starring Jack Nicholson, Otis Young, and a very young Randy Quaid. They talk about subcultures of the time, and the style that many New Hollywood-era films were interested in. And by the way, when Brad says God of Carnage in this conversation, he means Carnal Knowledge.  Brad then throws it to Jake to watch Lone Wolf and Cub: Baby Cart to Hades. They talk about this bloody, exploitative martial arts film and the deluge of similar films that came out of Japan around this time. They talk about its influence on modern franchises like Star Wars, and the clear (and admitted) influence it had on Quentin Tarantino.  Other movies discussed in this episode: The Tale of Zatoichi (1962), Blood Feast (1963), Easy Rider (1969), Carnal Knowledge (1971), Lone Wolf and Cub: Sword of Vengeance (1972), Lone Wolf and Cub: Baby Cart on the River Styx (1972), Lady Snowblood (1973), Fantastic Planet (1973), Robin Hood (1973), The Last of Sheila (1973), Live and Let Die (1973), Magnum Force (1973), The Exorcist (1973), Lone Wolf and Cub: Baby Cart in the Land of Demons (1973), American Graffiti (1973), The Sting (1973), Mean Streets (1973), Badlands (1973), Paper Moon (1973), The Texas Chainsaw Massacre (1974), Kill Bill: Volume 1 (2003), Last Flag Flying (2017).

On today's episode of Adevntures In Vinyl we review the 3rd studio ablum from an LA based band that was releaded in the year 1996, that is often cited as a classic of the alternative rock genre. That band is Failure and the album is "Fantastic Planet."Genre: Alternative RockRelease Date: August 13th, 1996Studio: F.P.S. Studios (LA), Madhatter Studios (Silverlake)Producing Credits: FailureLabel: Slash/Warner BrothersLength: 67:51# of Tracks: 17

11In between enthusiastic discussions of their recent wedding and the reissue of Jonathan Demme's "Stop Making Sense," Kerry and Collin take a few minutes to discuss the 2004 tearjerker drama "Noel," starring Susan Sarandon, Alan Arkin, Paul Walker, Penelope Cruz and Robin Williams. Are ringbearers absolutely necessary in a wedding ceremony? What went wrong with Spike Lee's recent Q&A with Talking Heads? How does a DVD self-destruct? All these questions get answered and more. Plus, Kerry gives three titles from the "1,001 Movies You Must See Before You Die" in the Book segment, one of which leads into the discussion of the greatest concert film of all time, which everyone should see in IMAX (or fake IMAX if that's the case) while you can. Don't cheat yourself. Bring the kids. Introduce them to one of the greatest bands of all time at the peak of their powers and a director who redefined what a concert film could be. It's on IMAX in September. Check your local listings. Read Chaz Ebert's article on Kerry and Collin's wedding.  Book movies covered: "Philadelphia" (1993) "Fantastic Planet" (1973) "The Double Life of Veronique" (1991) Also on the episode, Kerry and Collin talk about "Noel."

The Gents watch one of Robert's favorite, the spoof musical biopic Walk Hard: The Dewey Cox Story! 1:04 - Movies We've Seen (An American Werewolf in London, Coco, Field of Dreams, Robocop 2, Prey, The Hobbit, Fantastic Planet, The Umbrellas of Cherbourg, Rye Lane, Pineapple Express, The World's End) 29:43 - TV Shows We've Seen (How To with John Wilson, Silo, After Party, The Warrior, Miracle Workers, The Big Nailed It Baking Challenge, Star Trek Strange New Worlds) 42:45 - Walk Hard: The Dewey Cox Story wgacontract2023.org sagaftrastrike.org Get bonus episodes at our Patreon! Next episode: The Royal Tenenbaums (2001)

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----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.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Dane Bridges is a son and a brother and a boyfriend and a music instructor. He's also the bassist for Chowk.Dane was kind enough to stop by for Episode No. 79, talk a little bit of background and a lotta bit of music.And somewhere along the way, we had a peek at a few of his favorite records. They were these:Failure's Fantastic Planet (1996)Songs for the Deaf (2002), Queens of the Stone AgeInterpol's Turn on the Bright Lights (2002)Station (2008), Russian CirclesJaye Jayle's No Trail & Other Unholy Paths (2018)Meeting Dane and having the opportunity to sit down and chat with him was a real treat. Once you've checked out Chowk's bandcamp that I linked in the opening sentence, please give them a follow on Instagram so that you're up to snuff with all of their goings-on.Thank you.copyright disclaimer: I do not own the rights to the promo or intro/outro audio clips. They are samples from a tune called, "Join Hands" by Groove Armada. It's a track that comes from their 2001 album, Goodby Country (Hello Nightclub), c/o Zomba Records Limited.

Released in 1996, "Fantastic Planet" defied conventions and pushed the boundaries of alternative rock. Drawing on elements of grunge, space rock, and shoegaze, Failure crafted a hypnotic blend of ethereal melodies, gritty instrumentation, and introspective lyrics that resonated with a generation seeking a different kind of musical experience. Today we're talking about the album and it's impact on 90's rock and rock production. Failure's Fantastic Planet Artwork looks a lot like this L. Ron Hubbard book Failure Documentary Trailer Other Notes: Henry Rollins dresses like an elderly person This album art from the band Ruth Ruth is... interesting --- Send in a voice message: https://podcasters.spotify.com/pod/show/deweypodmonster/message

The "Dirty Sons of Pictures" are continuing to journey through the 1970s decade, and this episode tackles 1973, with the guys discussing the psychedelic French animated sci-fi allegory "Fantastic Planet" and the Oscar-winning con artist caper "Paper Moon" directed by Peter Bogdonavich.  Available on Spotify and Apple Episode 386 includes: -SAG joins the WGA and goes on strike! Also, Jonah Hill possibly a bad person too. -"Sound of Freedom" is a well-meaning but draggy action movie right up the QAnon alley.  -Ben has seen "Asteroid City" and has some very irate thoughts about Wes Anderson.  -By the Decade -- 1973 -- "Fantastic Planet" / "Paper Moon"  -The guys discuss the strange French animated movie with striking but off-putting imagery, and then they discuss Peter Bogdonavich's throwback to classic Hollywood capers with father-and-suaghter team Ryan O'Neal and Tatum O'Neal. Whatever positives are there tainted by Ryan O'Neal being a garbage person. 

  Before the MCU and Multiverses, before the Snyderverse, before the summers that the Shadow and the Phantom RULED the cineplexes (didn't they?), it was a world when the superhero and pulp characters reigned supreme in Saturday morning serials. The precursor of the modern action movie, their impact can be felt to this day , and since we keep our fingers on the pulse, we thought it was high time we showed them some love. So grab yer popcorn and Buck Rogers Disintegrator Pistols as we thread the projector and eat a bowl of healthy serial(s).DOWNLOAD THE SHOW HERETopics discussed:Topics Discussed:Captain Marvel, Captain America, Buster Crabbe, Eugene Levy, SCTV, Cliffhangers, Indiana Jones, George Lucas, The Phantom, Kirk Alyn, The Odd Couple, Firesign Theatre, J Men Forever, Dracula, The Phantom Empire, Tales of the Gold Monkey, Mister Justice, Pod Stallions, Flash Gordon, The Lost City, Commando Cody, Dick Van Patten, Ray Crash Corrigan, Phantom Creeps, Bela Lugosi, Dick Tracy, Magic Shadows, Animal Farm, Fantastic Planet, Elwy Yoast, TVO,#plaidstallions #podstallions #toyventures Do you miss toy magazines?That's why we created Toy-Ventures magazine, an old-school print publication dedicated to vintage toys from the 1960s to the 1990s. Each issue is packed with never before seen images and information written by some of the top collectors. We've got six issues and climbing; please check our page here or visit our store.  Our newest book "Knock-Offs: Totally, Unauthorized Action Figures," is now available. It's 130 pages of bootleg goodness. You can get this new book via the PlaidStallions Shop , On Amazon (Affiliate Link) or on eBay (eBay Link)   Our book Rack Toys, Cheap, Crazed Playthings is now available again! Order through our Affiliate Link  Order Rack Toys 2.0 Here through our Affiliate Link►https://amzn.to/3Bkm9z1 FACEBOOK GROUPS FROM PLAIDSTALLIONS  Pod Stallions is based on our podcast and is one of the most fun groups on Facebook. Toys, Comics, Movies, TV, it's all up for grabs and remember, you keep the glass! If you like our show, then you have found your tribe.  Mego Knock Off Headquarters- The leading group discussing 70s Dime store knock-offs and bootleg action figures, we talk vintage toys and not others. We know the difference between Astro Apes and Action Apeman.  It's a fun group where we talk about Lincoln International, AHI, Tomland, Bogi, Demo Man, Mortoys, and other generic greats.

We dive into some mindbending animation this week when we pair the second installment of Lord and Miller's Spider-Verse series with Fantastic Planet, an underground animated classic from 1973. New guest Connor Stewart joins Joe and Dave as they discuss some of the finer points of animated superheroes and sci-fi - and drink some beers from friends of the pod - this week!

James Cameron's Avatar films own two of the top slots in box office history (alongside Thron's cherished Titanic), and The Way of Water's success has Disney on track to deliver three more trips to the ever-more-stunning world of Pandora. But tonight MG pairs it with another blue alien film you may not have heard of - and one, we speculate, that might have been an important influence on the filmmakers: René Laloux' visionary animated masterpiece from 1973, Fantastic Planet!

The Pez Outlaw, Devotion, Fire of Love, and Fantastic Planet

The R4 Podcast is joined by returning guest co-pilot and fellow podcaster Tony Thomas from the A Little Bit Of Synergy Podcast as they review Failure's 1996 album Fantastic Planet! Rock on!Website: https://ridiculousrockrecordreviews.buzzsprout.comBecome a Patron and help support the show!Patreon: https://www.patreon.com/R4podcast?fan_landing=trueContact us! e-mail: ridiculousrockrecords@gmail.comFacebook: https://www.facebook.com/R4podcastTwitter: @R4podcastAaronInstagram: https://www.instagram.com/r4podcaster/Check out Tony's interview with Failure drummer Kellii Scott!A Little Bit Of Synergy Podcasthttps://www.youtube.com/watch?v=Pmm6DziPre8

Will, Adam, and Ryan watched Fantastic Planet (1973) and then discuss the animated film. Follow us on Twitter: https://twitter.com/menonfilmpod IMDb: https://www.imdb.com/title/tt0070544/ The entire movie on YoutTube: https://www.youtube.com/watch?v=-7LuNSHlPco

Join as Brian and Dan conclude "Animonth" by discussing the seminally weird French-Czech sci-fi fable Fantastic Planet. Join as they recount some of the unsettling imagery, try and parse the literary and allegorical content, and revel in the bizarreness of the sex moon. Check out Dan's movie reviews: http://thegoodsreviews.com/ Subscribe, join the Discord, and find us on Letterboxd: http://thegoodsfilmpodcast.com/

Join Caitlin, Ira, and special guest Julian Glander as they wander through the crystalline landscapes of René Laloux's Fantastic Planet. This is art school dorm room essential viewing at its finest. Be sure to check out Julian Glander's animation, games, comics, etc.~Hosted by Caitlin Cadieux and Ira Marcks@feelingcartoons (Twitter)@feelingcartoons (Instagram)cartoonfeelings.com (Episode Archive)cartoonfeelingspodcast@gmail.com (Write Us Feelings/Questions)

It's late. The kids have gone to bed. You have the living room to yourselves. The lights are low. You still have a box of wine left. You know what's it time for. That's right. Time to watch some cartoons! We're not talking about that Disney BS with dancing mice. No, the mice here only do the dance of death as they gnaw off people's faces. The guys discuss animated films that are made for more mature audiences... well... at least age wise. Jason, Adam, and Josh talk about cartoons dealing with more adult themes that sometimes have curse words, graphic violence, drug and/or alcohol use, and maybe even some nudity. Join them as they discuss filmmakers such as Ralph Bakshi and Hayao Miyazaki. They talk about such films as Heavy Metal, Akira, Ghost in the Shell, Fantastic Planet, and A Scanner Darkly while also discussing the importance of TV animation like The Simpsons, The Adult Swim lineup, and Archer among others. --- 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/brickedpit/message

Dax and MB continue their series on "disturbing" animated films with FANTASTIC PLANET, an admittedly tame entry. Trigger warnings: very brief mentions of all of the following -- racial oppression/racism, war/military invasion, and speciesism/animal mistreatment (nothing at all graphic). Follow the podcast on Twitter: @WONApodcast Follow MB: @mbmcandrews Follow Dax: @daxebaben

The “Cinephile Cuties” are ready to create a new civilization of “little dudes.” That's because they're chatting about the 1973 film by René Laloux - ‘Fantastic Planet.'If you like this show, join our Patreon!Follow Farthouse on Twitter and InstagramFollow Patrick and Casey on TwitterAnd follow Patrick and Casey on Letterboxd

We kick off Animation April with 4 CULTWORTHY animated films. FANTASTIC PLANET (1973), THE CHIPMUNK ADVENTURE (1987), THE PUPPETOON MOVIE (1987) and THE ADVENTURES OF MARK TWAIN (1985).

Scott sits in person with an incredibly talented band, Failure, who were fixtures of the LA underground rock scene in the 90's. Known for their album, Fantastic Planet, Ken Andrews, Greg Edwards and Kelli Scott are here to discuss the bands history, the new record Wild Type Droid and everything in-between. They get into some mutual friends and how the band formed. The early Failure days are brought up along with their first few records on Slash records ending with Fantastic Planet and the on boarding of Kelli Scott before breaking up and taking a 17 year hiatus. They get into the bands relationship with Tool, Kens video directing career, and some of the other band projects each member has had. Stay tuned for a great conversation!