Podcasts about Fire Down Below

THE DOOMED & STONED SHOW ~Season 10, Episode 14~ It's time now for another edition of The Doomed and Stoned Show, this time a preview of Planet Desert Rock Weekend in Las Vegas on January 30th through February 2nd, with Billy Goate interviewing festival organizer and promoter John Gist of Vegas Rock Revolution, which includes of course songs from the bands coming! Get tickets now at Eventbrite: https://eventbrite.com/e/planet-desert-rock-weekend-v-in-las-vegas-jan-30-31-feb-1-2025-tickets-873750791137 THE DOOMED & STONED SHOW (S10E14) Planet Desert Rock Weekend V - Preview PLAYLIST INTRO (00:00) HOST SEGMENT I - Night One (00:31) 1. Unida - "Black Woman" (18:15) 2. Mr. Bison - "The Child of the Night Sky" (23:32) 3. Sons of Arrakis - "Scattering" (28:47) 4. Samavayo - "Justify" (32:35) HOST SEGMENT II - Night Two (36:32) 5. Fireball Ministry - "The Broken" (59:16) 6. JIRM - "IAOA" (1:04:02) 7. Valley of the Sun - "Riding The Dunes" (1:11:21) 8. Fire Down Below - "California" (1:17:24) 9. Godzillionaire - "Ballad of the Topeka Gentleman" (1:21:27) HOST SEGMENT III - Night Three (1:26:41) 10. Mos Generator - "Lonely One Kenobi" (1:43:44) 11. Solace - "Breaker of The Way" (1:48:50) 12. Sergeant Thunderhoof - "Blood Moon" (1:57:11) 13. Omega Sun - "Early Morning" (2:04:38) 14. Green Desert Water - "Too Many Wizards" (2:09:22) HOST SEGMENT IV - Night Four (2:12:58) 15. Duel - "Pyro" (2:30:14) 16. Bonehawk - "Summit Fever" (2:34:04) 17. Luna Sol - "Evil (Is On The Rise)" (2:38:00) 18. Iota - "The Witness" (2:41:22) OUTRO (2:46:43)

On this episode, our friend Paul drops by to discuss We Eat Our Own by Kea Wilson, the work of author John Christopher, the Randy Travis vehicle Fire Down Below, If Looks Could Kill, and singing YCMA at a hardcore show. Website: www.queenvenerator.com Instagram: https://www.instagram.com/queenvenerator/ Bluesky: https://bsky.app/profile/queenvenerator.bsky.social

l⁠inktr.ee/CatchingUpOnCinema⁠ This February is “Frame of Reference” month at Catching Up On Cinema! All month long, Trevor and Kyle will be reviewing films that have frequently been referenced in recent episodes of the podcast. This week, Trevor and Kyle review Felix Enriquez Alcala's, Fire Down Below (1997)! One of Steven Seagal's last major theatrical releases, Fire Down Below (1997) is an environmentally conscious action-thriller set in rural Kentucky. Featuring a host of country music star cameos, including celebrated singer/songwriter Kris Kristofferson as the chief antagonist, Fire Down Below is a cozy, but not especially thrilling watch. Apparently both gutted, and neutered in post-production, Fire Down Below is short on action, and long on down-home Appalachian charm. With beautiful locations and scenery, and capable performances from everyone in the cast not named “Seagal,” with a few more aikido flips and a little less “geetar” strumming, Fire Down Below could perhaps have been considered one of the few truly “good” Steven Seagal films, however sadly, it was not meant to be. Follow us on Instagram ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@catchinguponcinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Follow us on Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@CatchingCinema⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Like, share, subscribe, and we'll catch you next time!

On this season of the Finding Our Way podcast, join Phill and Mitch as they share the stories behind each of the songs. In this episode, they're sharing the story behind Fire Down Below. --- Support this podcast: https://podcasters.spotify.com/pod/show/waylandtheband/support

In this episode, Billy Goate (Editor, https://DoomedandStoned.com), John Gist (Vegas Rock Revolution), and Bucky Brown (The Ripple Effect), get together to discuss the September edition of the monthly rankings at https://DoomCharts.com. We also talk about changes to Bandcamp that have bands and fans concerned, as well as preview the 2024 line-up for Planet Desert Rock! Check out our page on Patreon, with perks for supporting the show: https://patreon.com/doomedandstoned To support the bands, visit Doomed & Stoned HQ and click on the band names: https://bit.ly/doomedstoned PLAYLIST INTRO (00:00) 1. Rocky's Pride and Joy (#15) - "Crawl" (00:31) HOST SEGMENT I (04:42) 2. Graveyard (#17) - "Twice" (25:10) 3. Spider Kitten (#19) - "Safe To Drown" (27:50) 4. Rrrags (#29) - "Heart of the Hive" (30:54) HOST SEGMENT II (37:14) 5. Spiral Shades (#11) - "Witchy Eyes" (49:25) 6. Shadow of Jupiter (#20) - "Daisy Cutter" (53:12) 7. Cloud Catcher (#25) - "I Am The Storm" (58:44) HOST SEGMENT III (1:04:26) 8. Formation Ritual (#10) - "Sun Chariot" (1:22:10) 9. Omega Sun (#9) - "The One" (1:28:22) 10. Mondo Drag (#8) - "Burning Daylight (Pt. 2)" (1:33:42) HOST SEGMENT IV (1:38:21) 11. I Am Low (#7) - "Pigs" (1:51:08) 12. Slomatics (#6) - "I, Neanderthal" (1:54:09) 13. Lord Velvet (#5) - "Lament of Io" (1:58:08) HOST SEGMENT V (2:04:00) 14. Humulus (#4) - "Black Water" (2:53:50) 15. Fire Down Below (#3) - "The Last Cowboy" (3:00:24) 16. Dead Feathers (#2) - "Full Circle" (3:05:02) 17. Domkraft (#1) - "Black Moon Rising" (3:12:04) OUTRO - Bonus Tracks (3:16:45) 18. Kal-El (#35) - "Universe" (3:17:53) 19. Superlynx (#22) - "Cycle" (3:25:09) 20. Stone of Duna (#14) - "Deathbright" (3:29:37) 21. Frankie and the Witch Fingers (#21) - "Doom Boom" (3:35:28) CREDITS: Theme Song: Dylan Tucker Incidental Music: Hellvetika Thumbnail: Domkraft

Howdy allerseits! In dieser Episode gehen wir mit Steven Seagal nach Kentucky für sein 1997er Werk FIRE DOWN BELOW. Die Geschichte dreht sich um Jack Taggart, gespielt von Steven Seagal, der als Umweltmarshal arbeitet. Er wird in die verschlafene Kleinstadt Jackson in Kentucky geschickt, nachdem sein enger Freund und Kollege Frank, dargestellt von John Diehl, zusammen mit zwei FBI-Agenten auf mysteriöse Weise ums Leben gekommen ist. Um unauffällig zu ermitteln, tarnt sich Jack als einfacher Gemeindehandwerker und versucht herauszufinden, was hinter den rätselhaften Todesfällen steckt. Die meisten Einwohner von Jackson schweigen jedoch beharrlich über die Vorfälle. Doch mit der Zeit kommt Jack einem skandalösen Giftmüllkomplott auf die Spur, das den mächtigen Konzernchef Orin Hanner Sr., gespielt von Kris Kristofferson, belastet... FIRE DOWN BELOW hat unter Fans nicht den besten Ruf. Doch wie stehen wir zu diesem Film? Findets raus. Wie immer, wenn hier Steven Seagal besprochen wird, heisst mein Gast Jan Langer von den Glotzenden Zimbelaffen. Über Jan Langer: Zimbelaffen Podcast ⁠Website⁠ ⁠Spotify⁠ Glotzende Zimbelaffen ⁠Website⁠ ⁠Spotify⁠ ⁠Letterboxd⁠⁠Linktree⁠ ⁠⁠⁠ Letterboxd Liste der Seagal-Besprechungen Das Actionkult-Intro ⁠"Cracked Shell" by Furlong ⁠ Furlong auf den Sozialen Medien ⁠Facebook⁠ ⁠Instagram⁠ Über Actionkult: Früher wurde über Filme geschrieben (kult.ch), heute wird darüber gesprochen. Meine Gäste und ich freuen uns immer über Feedback oder sonstige Anmerkungen und Ideen. Kontaktieren könnt ihr uns auf Instagram, Facebook und Twitter - oder herrlich Old School via E-Mail: actionkult@gmail.com.

Fire Down Below is on the latest dose. Fire Down Below Bandcamp Fire Down Below Instagram LBF Pedals http://doomtombpodcast.com ***** ***** Edited by Ian from No Masters Audio: https://www.instagram.com/nomastersaudio/ House band : Stone Witch https://stonewitchband.bandcamp.com https://interstellarsmokerecords.bigcartel.com https://wetrecords.bandcamp.com/music *****  Hardcore Grooming Products: https://hardcoregrooming.bigcartel.com/  https://www.instagram.com/hardcoregroomingproducts/  Promo Code - DROPB ***** Red Sky Guitar Repair: https://www.instagram.com/redskyguitarrepair/  ***** Cranium Radio(Sundays,6-9 PM EST): https://www.facebook.com/craniumradio The Doom Tomb http://craniumradio.com Listen by way of : https://streema.com https://tunein.com https://live365.com https://liveonlineradio.net/cranium-radio http://radio.garden/listen/cranium-radio/5vlWBp-R ***** Social Media: https://www.instagram.com/doomtombpodcast/ https://www.facebook.com/doomtombpodcast https://www.tiktok.com/@doomtomb?lang=en https://twitter.com/DoomTombPodcast https://www.youtube.com/channel/UCYEaR0imIjYsgw-icbQPyhQ ***** Planet Mammoth: https://www.facebook.com/planetmammoth https://www.instagram.com/planetmammothentertainment/ ***** Doom Tomb Merch: https://doomtomb.bigcartel.com ***** doomtombpodcast@gmail.com This is the email.  ***** STAY HEAVY !!!!

Lots of great new music in this episode featuring Fire Down Below, Rocky's Pride & Joy, Monolord and Mutoid Man, to name just a few.

Steven Seagal is one of the biggest action stars of the '90s, starring in some of the biggest action films of the decade. He ended up dropping off the radar completely in the early 2000s, being relegated to the Walmart bargain bins and truck stop DVD corners. Mainstream action fans all but forget his talents, but no longer.The Kulturecast's Chris Stachiw and film critic Trevor Gumbel continue their downhill jog through the stoic world of everyone's favorite portly Aikido master with Fire Down Below. Starring Steven Seagal and Marg Helgenberger, he must stop a nefarious Kris Kristoffersen from poisoning a peaceful Appalachian town with his chemical waste. For more episodes of On Seagal along with many more podcasts that are guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.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/4632804/advertisement

Jeremy has a scare, Ashley and Erik had shows and the gang breaks down the Stephen Segal blue collar movie "Fire Down Below"     

Big Truck fills in for Whisp Turlington and brings his good buddy, BENNETT THE ROADIE (Davram Stiefler) along for the ride! Jason Gore broadcasts live from Plusky's Distillery! Amphetty Cash and roadie stories galore! Sponsored by Jefferson Starchips, Channel 8's "Fire Down Below," Books-A-Thousand and Depressed Dan's Party Warehouse Guest Starring: Davram Stiefler (The Good Liars) as Bennett The Roadie. Get all things 108.9 The Hawk at 1089thehawk.com! GET THAT 108.9 THE HAWK MERCH: http://tee.pub/lic/goodrockshirts SOCIAL SIGHTS: https://twitter.com/1089thehawk https://instagram.com/1089thehawk

Part 3 Iconic Bassist Talks "The Dream Is Free" His Second Solo Album #bassplayer #bassguitar #soloalbum #newmusic #reminiscing Original Crack The Sky Bassist Joe Macre To Release Second Solo Album “The Dream Is Free”Hot on the heels of his critically acclaimed first solo album. Bassist Joe Macre will be releasing his second album “The Dream Is Free” on August 1st on Cuppa Joe Records. Joe is known as the original bassist for the progressive rock band Crack The Sky best known for achieving “debut album of the year” in Rolling Stone Magazine and still included in the top 50 albums of all time. Joe was a member of Crack The Sky from 1975–1980 and 2004-2009. Joe has also worked with The B. E. Taylor Group, Wild Cherry, King Friday, Jim Croce, David Sanborn, The Brecker Brothers, Marie Osmond, Keith Green, Clint Brown, and others.In 2018 Joe began work on Joe Mac's American Garage with the debut album, “Bullet Train” released in 2021 with a cast of musicians and superstars including Grammy Award Artists Oliver Wakeman (Yes), and Andy Timmons (Danger Danger), Robert Schindler (Johnny Nash), Madukwu Chinwah (Erikah Badu), Chris Elliot and Jerry Oxendyne (86 Bullets), Pete Hewllett (Billy Joel), John Palumbo, Rick Witkowski, Bobby Hird and Joey D'Amico (Crack The Sky).Joe's latest effort, “The Dream Is Free” was written immediately after the “Bullet Train” release and features him on all instruments and voices, with guest appearances by Crack The Sky's Rick Witkowski and Al Macre (keys) and solos by Chris Elliott. It's a collection of 10 songs with Bonus tracks. The first single is a light commercial song entitled “I Need You.”Says Joe, “‘The Dream Is Free' album is a reflection on my life experiences as a musician. The Dream Is Free BUT the pain's sold separately. It takes some talent to get in but there are consequences if you have no idea of the BUSINESS of music. So, I guess it's a loosely concept album but also a collection that was written during the covid times. I write all the songs and play all the instruments and vocals with the exception of some solos by Chris Elliott, Rick Witkowski and Al Macre. Two incredible soloists and a classical keyboardist who played on a few songs. My former bandmate Rick Witkowski co-wrote two songs with me on this album. My musical inspirations are The Beatles, Yes, Genesis, King Crimson, Strawbs. I grew up playing Funk as a bassist. These early years were filled with Motown, James Brown and anything with a cool rhythm. The context for my songs is positive, giving the listener the chance to explore what I'm saying. Most are based on my musical experiences and years on the road.”Joe Macre's Award-winning Post Production mixing credits in films include Monster in Law, House of D and Fire Down Below. His “Cuppa Joe Music” Library and Sound Design are chosen for many national spots, including the award-winning Super Bowl Tabasco's “Mosquito”, Corona's “Ship in a Bottle”, Nickelodeon, Showtime, Ford, McDonald's, Corona, and Hyundai.Website: https://www.joemacre.com/Facebook: https://www.facebook.com/joe.macreThanks for tuning in, please be sure to click that subscribe button and give this a thumbs up!!Email: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://trut

Iconic Bassist Talks "The Dream Is Free" His Second Solo Album Part 2#iconicmusician #bassist #joemacre #soloalbum #newmusic Original Crack The Sky Bassist Joe Macre To Release Second Solo Album “The Dream Is Free”Hot on the heels of his critically acclaimed first solo album. Bassist Joe Macre will be releasing his second album “The Dream Is Free” on August 1st on Cuppa Joe Records. Joe is known as the original bassist for the progressive rock band Crack The Sky best known for achieving “debut album of the year” in Rolling Stone Magazine and still included in the top 50 albums of all time. Joe was a member of Crack The Sky from 1975–1980 and 2004-2009. Joe has also worked with The B. E. Taylor Group, Wild Cherry, King Friday, Jim Croce, David Sanborn, The Brecker Brothers, Marie Osmond, Keith Green, Clint Brown, and others.In 2018 Joe began work on Joe Mac's American Garage with the debut album, “Bullet Train” released in 2021 with a cast of musicians and superstars including Grammy Award Artists Oliver Wakeman (Yes), and Andy Timmons (Danger Danger), Robert Schindler (Johnny Nash), Madukwu Chinwah (Erikah Badu), Chris Elliot and Jerry Oxendyne (86 Bullets), Pete Hewllett (Billy Joel), John Palumbo, Rick Witkowski, Bobby Hird and Joey D'Amico (Crack The Sky).Joe's latest effort, “The Dream Is Free” was written immediately after the “Bullet Train” release and features him on all instruments and voices, with guest appearances by Crack The Sky's Rick Witkowski and Al Macre (keys) and solos by Chris Elliott. It's a collection of 10 songs with Bonus tracks. The first single is a light commercial song entitled “I Need You.”Says Joe, “‘The Dream Is Free' album is a reflection on my life experiences as a musician. The Dream Is Free BUT the pain's sold separately. It takes some talent to get in but there are consequences if you have no idea of the BUSINESS of music. So, I guess it's a loosely concept album but also a collection that was written during the covid times. I write all the songs and play all the instruments and vocals with the exception of some solos by Chris Elliott, Rick Witkowski and Al Macre. Two incredible soloists and a classical keyboardist who played on a few songs. My former bandmate Rick Witkowski co-wrote two songs with me on this album. My musical inspirations are The Beatles, Yes, Genesis, King Crimson, Strawbs. I grew up playing Funk as a bassist. These early years were filled with Motown, James Brown and anything with a cool rhythm. The context for my songs is positive, giving the listener the chance to explore what I'm saying. Most are based on my musical experiences and years on the road.”Joe Macre's Award-winning Post Production mixing credits in films include Monster in Law, House of D and Fire Down Below. His “Cuppa Joe Music” Library and Sound Design are chosen for many national spots, including the award-winning Super Bowl Tabasco's “Mosquito”, Corona's “Ship in a Bottle”, Nickelodeon, Showtime, Ford, McDonald's, Corona, and Hyundai.Website: https://www.joemacre.com/Facebook: https://www.facebook.com/joe.macreThe Bandmates' club, Supporters of the channel: Matthew Arrowood Host of The ONLY Brocast podcast:https://youtube.com/channel/UCsfv1wWu3oUg42I2nOtnMTADon Hahn of In the Margins: https://www.youtube.com/c/InTheMarginsBukas Siguro: https://www.youtube.com/c/BukasS%C4%ABgur%C3%B8Will Scoville of Ranch Rehab DIY: https://www.youtube.com/c/RanchRehabDrew Lee Nicholas of DN-TV: https://www.youtube.com/channel/UC8TVqL9mn6N

Iconic Bassist Talks "The Dream Is Free" His Second Solo Album#bassist #newmusic #progmusic #soloalbum Original Crack The Sky Bassist Joe Macre To Release Second Solo Album “The Dream Is Free”Hot on the heels of his critically acclaimed first solo album. Bassist Joe Macre will be releasing his second album “The Dream Is Free” on August 1st on Cuppa Joe Records. Joe is known as the original bassist for the progressive rock band Crack The Sky best known for achieving “debut album of the year” in Rolling Stone Magazine and still included in the top 50 albums of all time. Joe was a member of Crack The Sky from 1975–1980 and 2004-2009. Joe has also worked with The B. E. Taylor Group, Wild Cherry, King Friday, Jim Croce, David Sanborn, The Brecker Brothers, Marie Osmond, Keith Green, Clint Brown, and others.In 2018 Joe began work on Joe Mac's American Garage with the debut album, “Bullet Train” released in 2021 with a cast of musicians and superstars including Grammy Award Artists Oliver Wakeman (Yes), and Andy Timmons (Danger Danger), Robert Schindler (Johnny Nash), Madukwu Chinwah (Erikah Badu), Chris Elliot and Jerry Oxendyne (86 Bullets), Pete Hewllett (Billy Joel), John Palumbo, Rick Witkowski, Bobby Hird and Joey D'Amico (Crack The Sky).Joe's latest effort, “The Dream Is Free” was written immediately after the “Bullet Train” release and features him on all instruments and voices, with guest appearances by Crack The Sky's Rick Witkowski and Al Macre (keys) and solos by Chris Elliott. It's a collection of 10 songs with Bonus tracks. The first single is a light commercial song entitled “I Need You.”Says Joe, “‘The Dream Is Free' album is a reflection on my life experiences as a musician. The Dream Is Free BUT the pain's sold separately. It takes some talent to get in but there are consequences if you have no idea of the BUSINESS of music. So, I guess it's a loosely concept album but also a collection that was written during the covid times. I write all the songs and play all the instruments and vocals with the exception of some solos by Chris Elliott, Rick Witkowski and Al Macre. Two incredible soloists and a classical keyboardist who played on a few songs. My former bandmate Rick Witkowski co-wrote two songs with me on this album. My musical inspirations are The Beatles, Yes, Genesis, King Crimson, Strawbs. I grew up playing Funk as a bassist. These early years were filled with Motown, James Brown and anything with a cool rhythm. The context for my songs is positive, giving the listener the chance to explore what I'm saying. Most are based on my musical experiences and years on the road.”Joe Macre's Award-winning Post Production mixing credits in films include Monster in Law, House of D and Fire Down Below. His “Cuppa Joe Music” Library and Sound Design are chosen for many national spots, including the award-winning Super Bowl Tabasco's “Mosquito”, Corona's “Ship in a Bottle”, Nickelodeon, Showtime, Ford, McDonald's, Corona, Hyundai, and Oprah Winfrey.Website: https://www.joemacre.com/Facebook: https://www.facebook.com/joe.macreEmail: thevibesbroadcast@gmail.comInstagram: https://www.instagram.com/listen_to_the_vibes_/Facebook: https://www.facebook.com/thevibesbroadcastnetworkLinktree: https://linktr.ee/the_vibes_broadcastTikTok: https://vm.tiktok.com/ZMeuTVRv2/Twitter: https://twitter.com/TheVibesBrdcstTruth: https://truthsocial.com/@Koyote

Investigate that Fire Down Below from 1997 with Matt and Ryan this week in what's probably this year's 3rd entry for #Julykwondo, then stick around for Plus One, Game of Death, and Enter the Fat Dragon!

"You couldn't take out a cheeseburger from a drive-through window." - Orin Hanner Snr (Kris Kristofferson) Join our Discord  https://discord.gg/jDrUtNcRq2  Hosts Scott, Kyle and Craig come towards the end of our '90s Seagal journey with 1997's "Fire Down Below." Listen as they muse about this works as a companion piece to "On Deadly Ground,"  have fun playing the spot the Country & Western star game and note how in this film Seagal has the closest he has ever come to a (semi) convincing romantic relationship. Also, we get into it's ludicrous (even by movie standards) portrayal of Southern "hillbilly" types, are amused by another pompously self-righteous Seagal speech and ponder as to just how much of the budget went on that truck chase. Elsewhere in the episode, Scott continues to make tenuous connections between Seagal flicks and "Twin Peaks",  Craig keeps forgetting about Kris Kristofferson's character and Kyle muses on Seagal super-detective skills. Plus, we breakdown this movies severe daddy issues.

For Spear Talk 101, we welcomed Scott L. Schwartz to the show! Scott is an actor (Oceans 11-13, Fire Down Below, Bridge Of Dragons), stuntman, professional wrestler, and was a cop in the Los Angeles County Sherif's Office! In our discussion, we covered how Scott broke into the entertainment industry, learning the wrestling ropes in the 1970s from "Killer" Kowalski, working with George Clooney, why he wanted to serve in law enforcement, and so much more! Scott is a larger than life personality! #scottlschwartz #oceans11 #killerkowalski Follow @speartalkpodcast on Instagram for all things podcast!   @johnsilverspear is the host / COO of Silver Spear Security, LLC Learn more about your ad choices. Visit megaphone.fm/adchoices

The Spin Chagrin is the latest supplemental podcast of 2 Guys 5 Movies. This concept finds Frank having to watch a movie he's never seen before based on the random spin of a wheel filled with off-the-wall genres. In the inaugural episode of The Spin Chagrin, Frank's category was "Movie That Gave You PTSD from Working at Regal Cinemas." The movie he chose to watch, summarize, and review is Steven Seagal's 1997 environmental action movie, Fire Down Below.

Brandon & Caleb head south to the rolling hills of Kentucky for this weeks awesomely bad movie review with Fire Down Below featuring Steven Seagal. Is he squinting because he's looking into the sun? Looking into the flames of the fire? Or because of his pure awesomeness? Listen to see how much awesome and how much bad is involved this week. #StevenSeagal #FireDownBelow #MovierReview --- Send in a voice message: https://anchor.fm/rockvideo/message Support this podcast: https://anchor.fm/rockvideo/support

Wenn wir auf Actionklassiker zu sprechen kommen, haben wir Titel wie "Stirb Langsam" oder "Matrix" auf den Lippen. "Fire Down Below" ist einer dieser vielleicht unterschätzten Werke, denen man heute vielleicht noch mal eine Chance geben sollte. Die Story um einen Umweltpolizisten, der im hinterletzten Kaff in Kentucky aufräumt, war für eine Weile Seagals letzter Output für ein grösseres Studio. Gehört dieser Film auf den Mond geschossen oder vielleicht doch eher in die DVD-Regale unserer Wohnzimmer?

In this episode of the podcast, Aikido gone wrong with Steven Seagal. Karri and Henrik look at Seagal's roots, his successes, some of his personal life involving mafia, Putin, sexual misconduct allegations, onset antics and dead puppies. Finally we dive into his direct-to-video failures and recent ventures. Films covered in this episode: Above the Law (1988) Under Siege (1992) On Deadly Ground (1994) Fire Down Below (1997) Attack Force (2006) Beyond the Law (2019) Hosted by Karri Ojala and Henrik Telkki. Edit by Karri Ojala. The Flick Lab theme tune written and performed by Nick Grivell and Karri Ojala. This show can be listened to on Spotify, Apple Podcasts or wherever you listen to your podcasts. You can find us also on social media – Facebook, Twitter, Youtube, Instagram, and www.theflicklab.com.

"You couldn't take out a cheeseburger from a drive-through window." - Orin Hanner Snr (Kris Kristofferson) Hosts Scott, Kyle and Craig come towards the end of our '90s Seagal journey with 1997's "Fire Down Below." Listen as they muse about this works as a companion piece to "On Deadly Ground," have fun playing the spot the Country & Western star game and note how in this film Seagal has the closest he has ever come to a (semi) convincing romantic relationship. Also, we get into it's ludicrous (even by movie standards) portrayal of Southern "hillbilly" types, are amused by another pompously self-righteous Seagal speech and ponder as to just how much of the budget went on that truck chase. Elsewhere in the episode, Scott continues to make tenuous connections between Seagal flicks and "Twin Peaks", Craig keeps forgetting about Kris Kristofferson's character and Kyle muses on Seagal super-detective skills. Plus, we breakdown this movies severe daddy issues. "All '90s Action, All The Time" is produced by Scott Murphy, Kyle Hintz and Craig Draheim. Music by Elyssa Vulpes. Editing by Scott Murphy.

Amy and Beth cover "Fire Down Below" by Bob Seger & The Silver Bullet Band. Listen to the song first before Amy & Beth ruin it for you.Email us at amyandbetharesorry@gmail.comVisit us on Instagram at https://instagram.com/sorryiruinedthatsong?igshid=1cqqhy050qg8qVisit us on Twitter at https://twitter.com/sorry_songListen to our Spotify Playlist here:https://open.spotify.com/playlist/1N6BzJ2NejvzSmuhpkZhRb?si=ladyFquiSkqsrb4np4I3ow

Justin & Gurdip are busy toodling away at something different for a bonus episode you'll get later this week, but never fear! Golden Songs of the Week are here! Whether you're revisiting these or hadn't gone back and listened to them yet, here are the Songs of the Week from Episodes 26-30. Normally, we wouldn't have a compilation be this long but since #30 ends with "I'm Leavin'" and we discuss Joe Var Veri's cover in detail during it, and we just had Joe guest on the show, we thought it was the most fitting end for this one! Featured Songs of the Week include: Lover Doll, Run On, Wear My Ring Around Your Neck, It Hurts Me, Bossa Nova Baby, Steppin' Out of Line, I'm Leavin' as well as Eddie Cochran's Summertime Blues, Nancy Sinatra's These Boots are Made for Walkin', and Fire Down Below, the song Elvis' band cut in 1976 with the hopes Elvis might put a vocal down, but never quite got to. We hope you enjoy this look back at some of our earlier Songs of the Week from our first year!

In this episode, Alexis & Haley take a deep dive into the 1997 Steven Seagal classic, “Fire Down Below.” You might be wondering what in the world this movie has to do with country music. Well, the answer might surprise you. You'll also learn some great anger management tips from Haley, as well as a spirited dedication to the reason for the name of our show! Don't forget to rate, review (5-stars), and SUBSCRIBE! Come on over & join us over at our Instagram, @whateverandneveramen! We also just started a TikTok account, @whateverandneveramen, so follow us there, too!

  Thank you Burning Spear for your message through MUSIC!Door PeepWhat a Happy Day Rocking TimeDon't Mess With JillNew CivilizationCall On YouFoggy RoadFire Down BelowHappy People (Jackie Mittoo)Red Gold GreenI & I SurviveDread RiverMarcus GarveyWalking (Version)Jomo (Version)Man in the HillsBlack Disciple (Ernest Ranglin)African TeacherAfrican Postman (Version)ColombusDry and HeavySocial LivingThrow Down Your Arms (Version)Jah BotoLet's Recall Some GreatsSo Jah SayMek We DweetCome, ComeWe Built This CityLoving Dub(Jah No Dead vs. Ocean Tide)Freedom Sounds Winston Rodney The Burning Spear 

Join Robby, Eric and Matt as they journey back in time and space to the turn of the 20th century in Scotland. Here they listen to some old Dreg songs retrieved from wax cylinders previously thought lost! (1:23) "Fire Down Below," performed by Bob Walzer and friends on the album When Our Ship Comes Home. Next we listen to something that was somewhat of a mystery! Keegan Theo's "Tickle Fraine on his album Peace of Pi Volumes 1 & 2. (12:35) Finally, we've got another boppin' country track with David Simmons and Jimmy Bryant's "WWW Dot Com" on their album Hay Uncle Sam! (21:57) Eric forgets what he's going to say at (28:35). Finally, hear what we listened to this week! (30:50) Explicit Content Warning: Very light swearing and pointing out some suggestive song lyrics from Hay Uncle Sam! 

That's right, time to return to the source of all joy, triumph and exaltation: Bette Midler! Come back with us to 1980 as we explore the apex of Bette's career and the apotheosis of her stage shows: Divine Madness! We dive into her career, life and artistic intention around this glorious and jubilant concert. We read Pauline Kael, sample Barbara Walters and shout out to Linda Hart. So come for the tunes and jokes and stay for our endlessly fascinating origins. Get ready to make that Big Noise and experience the Fire Down Below. Stay With us, Battle Angels, we are Ready to Begin Again...cuz everybody must.

Amon Ra, Burning Candle, Degrees Of Truth, Elephant Plaza, Fire Down Below, Gong, Jeavestone, Kornmo, Live, Mahogany Rush, Michael Quatro Jam Band, Nightwinds, Paice Ashton Lord, Saga, Summer Breeze Project, Vangough, and Wishbone Ash, plus “Spotlight Sets” devoted to Aviary and Heart Of Sun. Do you enjoy Prog-Scure? If so, perhaps you might consider helping […]

Ep. 182 - Fire Down Below by Talented Slackers

We started this new year off with a film from 90's action star and serial eater, Steven Seagal's Hard to Kill! We continue the Seagal Saga with Fire Down Below, you know the EPA action film...no not that one...the other one...yeah there is another EPA action film. Fire Down Below R  1997 ‧ Thriller/Action ‧ 1h 45m Description When an EPA representative is discovered dead in a small Midwestern town, government agent Jack Taggart (Steven Seagal) goes undercover to check things out. He finds that local coal mogul Orin Hanner Sr. (Kris Kristofferson) is cutting financial corners by disposing of hazardous waste wherever he pleases and that local kids are falling ill because of this recklessness. Taggart then works to stop the shady activity and save the town, but Hanner and his thugs soon grow suspicious of him. Initial release: December 13, 1997 (South Korea) Director: Félix Enríquez Alcalá Budget: 42 million USD Box office: 16.2 million USD Music composed by: Nick Glennie-Smith

We started this new year off with a film from 90's action star and serial eater, Steven Seagal's Hard to Kill! We continue the Seagal Saga with Fire Down Below, you know the EPA action film...no not that one...the other one...yeah there is another EPA action film. Fire Down Below R  1997 ‧ Thriller/Action ‧ 1h 45m Description When an EPA representative is discovered dead in a small Midwestern town, government agent Jack Taggart (Steven Seagal) goes undercover to check things out. He finds that local coal mogul Orin Hanner Sr. (Kris Kristofferson) is cutting financial corners by disposing of hazardous waste wherever he pleases and that local kids are falling ill because of this recklessness. Taggart then works to stop the shady activity and save the town, but Hanner and his thugs soon grow suspicious of him. Initial release: December 13, 1997 (South Korea) Director: Félix Enríquez Alcalá Budget: 42 million USD Box office: 16.2 million USD Music composed by: Nick Glennie-Smith

RippleFest hit Sweden like a thunderstorm on September 7-8th. It was presented by Ripple Music and Into The Void Podcast and hosted by Sweet Leaf at Copperfields in Stockholm. We met up with the bands and got some good coversations and killer music on tape. So hold on to your sanity as we get almost two insane hour podcast with Nekromant, Ozone Mama, Kingnomad, Cities Of Mars, Fire Down Below, Witchers Creed, Craneium, Vokonis and the man who started it all: Todd Severin of Ripple Music.

There's no better place to start than at the beginning – so, for the first episode of Die Hard With a Podcast, we're taking a look at the making of Die Hard. For a film with so many incredible stunts and huge explosions, it's hard to believe it's based on a book – or is technically a sequel to a 1960s Frank Sinatra flick. On this show, we go from acquiring the rights to the story, crewing up the film, writing the script, casting its stars, and rolling at the Fox Plaza building in Los Angeles. Learn why Die Hard was fully expected to flop, why Bruce Willis's salary was so controversial, and how exactly they pulled off Hans's fall from the 30th floor. As we kick off this limited series, let us know what you think! Drop us a line at diehardwithapodcast@gmail.com, or visit our site at www.diehardwithapodcast.com.   Source Links A/V Club, Die Hard humanized (and perfected) the action movie ABC News, 'Die Hard' turns 30: All about the film and who could have played John McClane Creative Screenwriting, “There is no such thing as an action movie.” Steven E. de Souza on Screenwriting Deep Focus Review, The Definitives: Die Hard Empire, Empire Essay: Die Hard Review Entertainment Weekly, Bruce Willis: "If I hadn't done 'Die Hard,' I'd rip it off" Eric Lichtenfeld, Action Speaks Louder: Violence, Spectacle, and the American Action Movie Film School Rejects, 31 Things We Learned From the ‘Die Hard’ Commentary Track Film School Through Commentaries, John McTiernan on filmmaking philosophy I Choose to Stand, Retrospective: Die Hard (1988) IMDb, Die Hard IndieWire, Cruel Summer: Die Hard (1988) Mental Floss, 19 Things to Look for the Next Time You Watch Die Hard Mental Floss, 30 Cold, Hard Facts About Die Hard Overthinking It, The Best of All Possible Die Hards Rolling Stone, Why the OG ‘Die Hard’ Still Rules Screen Rant, 15 Crazy Things You Didn’t Know About Die Hard Shmoop, Die Hard Shortlist, Die Hard: 25 Years On The Daily Beast, ‘Die Hard’: How Bruce Willis Changed the Movies The New York Times, If Willis Gets $5 Million, How Much for Redford? The Star Democrat, Five days of ‘Die Hard’ part one: ‘Die Hard’ (1988) Thrillist, A (Mini) Oral History of the Most Memorable 'Die Hard' Moments Viddy Well, 10 Fun Facts About Die Hard Vulture, How Die Hard Changed the Action Game Wikipedia, Die Hard Zimbio, 20 Things You Never Knew About 'Die Hard'    Get In Touch Email Website Twitter Facebook Instagram Patreon   Full Episode Transcript Welcome to the podcast, pal. My name is Simone Chavoor, and thank you for joining me for Die Hard. With. A! Podcast! The show that examines the best American action movie of all time: Die Hard. This is the first episode of this new podcast! It’s been a kind of crazy labor of love, putting the show together. Over a year ago, I started a podcast called Black Mass Appeal with the help of some of my friends. That show is about, shall we say... alternative religions... and it’s been a ton of fun to put together and I’ve learned so much doing it. But now, I’m starting on a new project about something else I love. I can’t recall exactly when I became a die hard Die Hard fan. I think my story is probably pretty typical; falling in love with the movie as I watched it at home on VHS, or badly censored on TV. I do remember that when I moved to Los Angeles in 2006 to take an internship on the Fox lot, I never got over my excitement at driving past the Fox Plaza building – Nakatomi Tower – every day. I got a gray sweatshirt and a red Sharpie to make my own “Now I have a machine gun, ho ho ho” costume for my Christmas party. I attended the Alamo Drafthouse’s “Nakatomi ‘88”-themed screening in San Francisco. And yes, I became one of those annoying drunks who’d go on at length about why Die Hard is a Christmas movie after a couple of cocktails. After yet another friend asked me for quick notes on whether or not Die Hard is a Christmas movie in order to settle an office debate, I sat down with a (couple) glass(es) of whiskey, rewatched the movie, and hammered out a four-page, fully-cited essay on the matter. (Which you can read on the website.) Yes, this is how I spend my Friday nights. But the fact that I did that made something abundantly clear: I love Die Hard. I have a lot to say about it. And I want to share it. So here we are! This podcast is going to have nine episodes that each explore different aspects of the movie. We’ll look at action movies of the 80s, we’ll look at our heroes and villains, how women and minorities are portrayed, and why Die Hard is so popular again. There’ll also be a BONUS episode… You can find out more about that in just a minute. So, before we dive in, a little housekeeping. Die Hard With a Podcast will release every other Thursday, wrapping up right before Christmas. If you want to get in touch... Email Website Twitter Facebook Instagram Finally, if you like this show, kick me a buck or two on Patreon. Patreon helps to offset the cost of doing this show, so unless you have a vault with $640 million in bearer bonds you can open up for me, pledge a little bit on Patreon. Patreon There are some cool bonuses you can get, like stickers, ornaments, and the bonus episode – and you can even help decide what you want the bonus episode to be on! So check that out, and pitch in if you can. And if you can’t – the best thing you can do is just listen and tell your friends. Leave a review on iTunes – that helps put this show in front of more people, so everyone can get in on the Die Hard love. All right, on with the show. For our first episode, I thought what better place to begin than where Die Hard began? So: this is the story of how Die Hard got made. The novel Die Hard doesn’t seem like one of those movies that started out as a book – there’s a lot of explosions in the movie and all – but it did. In fact, it started out as a sequel, to both a book and another movie. In 1966, writer Roderick Thorp wrote a novel called The Detective. It was an adult take on the cop genre, with the main character, private investigator Joe Leland, taking on a gritty case of supposed suicide that leads him to uncover murder and corruption. The novel was turned into a movie of the same name in 1968 by 20th Century Fox. The film starred Frank Sinatra as Joe, and the film did decent box office while Sinatra’s performance was well reviewed. Over a decade later, in 1979, Thorp wrote a sequel to The Detective with the express intention of turning it into another movie for Sinatra. The book was called Nothing Lasts Forever (which sounds more like a James Bond movie if you ask me). In it, now-retired Joe Leland goes to visit his daughter – not his wife! – at her high-rise office in Los Angeles at Christmas. While he’s there, terrorists take over and… a lot of the rest is the same is the movie. Kinda. We’ll get into that on another episode. Anyway, it’s kind of like how author Michael Crichton wrote The Lost World expressly to be made into a sequel to the movie Jurassic Park, or Thomas Harris wrote Hannibal to be a made into a sequel for the Silence of the Lambs. (You’ll come to find out that Silence of the Lambs is another favorite movie of mine…) Buying the rights According to Thorp, future Die Hard associate producer Lloyd Levin showed the book Nothing Lasts Forever to future producer Lawrence Gordon. Gordon took one look at the cover, with a burning skyscraper and circling helicopter, and said, “I don’t need ro read it. Buy it.” So, 20th Century Fox bought the movie rights to this novel, too. Now, Die Hard was actually produced by Silver Pictures, the production company founded by mega-producer Joel Silver in 1985. 20th Century Fox ended up being more of the distributor. (At some point in the early 80s, before Silver Pictures picked it up, the rights to Nothing Lasts Forever were actually owned by Clint Eastwood, who had intended on starring in the movie himself.) Joel Silver was just coming off of a hot streak of iconic 80s action movies like Commando, Lethal Weapon, Predator, and Action Jackson, and he was able to pull from the talent behind those movies to put Die Hard into production. The crew Silver offered the gig to the director of 1987’s Predator, John McTiernan. Back in 1985, McTiernan had turned down directing Commando, and he almost turned down Die Hard, too. In fact, he tried a couple of times to turn it down. McTiernan said the material was just too dark and cynical for him. (And if you’ve read Nothing Lasts Forever, you’ll totally get it. That shit is bleak.) Eventually, he came around because he came up with a plot change that would “lighten things up.” “The original screenplay was a grim terrorist movie,” he said. “On my second week working on it, I said, 'Guys, there's no part of terrorism that's fun. Robbers are fun bad guys. Let's make this a date movie.’ And they had the courage to do it.” So instead of terrorists, McTiernan’s bad guys would be pulling off a heist. “I liked the idea of imagining what would happen when one of those Baader-Meinhof types got tired of fighting his and others’ political battles and decided to show them what a criminal is,” he said. McTiernan also changed things up with inspiration from an unlikely source: Shakespeare. The original story took place over the course of three days, which was way too long. Now, borrowing from the structure of A Midsummer Night’s Dream, the entirely of the plot would transpire over a single night. To hammer out the story, writers Jeb Stuart and Steven de Souza were hired. Jeb Stuart wrote the original script, and Steven de Souza was responsible for a lot of the on-the-fly revisions that would take place during shooting. Die Hard was Jeb Stuart’s first film credit if you can believe it, and after Die Hard he later went on to write Another 48 Hours, Fire Down Below, and the really really amazing The Fugitive. De Souza had previously written 48 Hours, Commando, and The Running Man, and he would go on to write Die Hard 2, Hudson Hawk, Ricochet, Beverly Hills Cop III, Street Fighter, and Judge Dredd. Basically, these are the guys to go to for action thrillers. The cast But who to go to to be the star of this action flick? Contractually, because Die Hard is technically a sequel to The Detective, the role had to be offered back to Frank Sinatra… who was 73 years old at the time. Fortunately, Sinatra decided he was “too old and too rich” to be running around making movies anymore. By not going with an older gentleman as the lead, the filmmakers were now free to explore new options for the lead role. Jeb Stuart describes how he discovered the core of the film: "I had no idea how to make this into a movie," he said. After getting into an argument with his wife, Stuart said he got into his car and took off. "It's in the days before cell phones and literally the minute I got on the highway, I knew I was wrong and knew I had to apologize," he said. He wasn't paying attention to the road and ran into a refrigerator box. "I went through it at 65 miles per hour and, fortunately, it was empty," he explained. "I pulled over to the side of the road, my heart was pounding and I thought, 'I know what this movie is about!' It's not about a 65-year-old man... It's about a 30-year-old man, who should have said he's sorry to his wife and then bad shit happens." He went home and wrote 30 pages of the script that very night. Hopefully he apologized to his wife first. When it came to casting the role of the now-renamed John McClane, the filmmakers seemed to try every male movie star in town. The part was offered to… Sly Stallone, Don Johnson, Harrison Ford, Richard Gere, Clint Eastwood (as already mentioned), Burt Reynolds, Robert De Niro, Charles Bronson, Nick Nolte, Mel Gibson, James Caan, Paul Newman, and Richard Dean Anderson (yes, MacGyver!). These actors ran the gamut from musclebound he-men to more sophisticated sorts. “When I first started working on it, they were talking about Richard Gere,” said John McTiernan. “The part was very buttoned down. He’s wearing a sport jacket, and he’s very suave and sophisticated and all that stuff. It was a sort of Ian Fleming hero, the gentleman man of action.” But what all those actors had in common was they all turned the role down. Going to Bruce Willis was seen as a desperate move in the film industry. After all, he was a *sniff* television actor, not a movie star. Willis was currently on the show Moonlighting, which was a comedy-drama about two private detectives. He had been in two movies by then as well, Blind Date and Sunset, but neither had been hits. Still, Willis was a charismatic, charming actor. Demographic data from CinemaScore, an entertainment polling and research company, said that Willis was popular with audiences. And once again, producer Lawrence Gordon stepped in to take decisive action. Bruce Willis tells it himself: “I know that Larry Gordon was instrumental in me getting the job. What’s that expression? Success has many fathers, failure is an orphan? Well, a lot of people take credit for my appearance in the first Die Hard, but Larry Gordon was really the guy. He lobbied for me. And then got them to give me an outrageous sum of money for acting in the film.” It really was an outrageous sum of money. Willis was paid $5 million – more than almost any other leading man at the time. (Dustin Hoffman got $5.5 million for Tootsie, and Stallone got $12 million for Rambo III.) But multi-million dollar paychecks were usually reserved for only the biggest names in the business. Even then, the figures were only in the $2 or $3 million range. A TV actor getting this kind of payday sparked a legit panic among studios. In a New York Times article titled, “If Willis Gets $5 Million, How Much for Redford?,” writer Aljean Harmetz calls it “equivalent to an earthquake. The map of movie-star salaries must now be redrawn.” In response, Leonard Goldberg, president and chief operating officer of 20th Century Fox got a little testy. He told the New York Times for that article, ''Die Hard hinges on the lead. We had a very exciting script and a team of producers who delivered Predator and Commando. We reached out for Bruce Willis because we thought we had the potential of a major film which is a star vehicle.'' But even after all of that, the reason Willis could even take the role came down to his Moonlighting co-star, Cybill Shepherd. Shepherd announced that she was pregnant – and because the pregnancy couldn’t be written into the show, Moonlighting producer Glenn Caron put the show on hiatus and gave everyone 11 weeks off. At last, Die Hard had its star. Casting the villain to McClane’s hero was less fraught, but still a bit of a gamble. The role was originally offered to Sam Neill, but he turned it down. Then, in the spring of 1987, casting director Jackie Burch saw Alan Rickman playing the dastardly Valmont in the Broadway production of Dangerous Liaisons – a role which earned him a Tony Award nomination. Rickman was known for theater, but, at the age of 41, had never done a movie. When he was offered the role of Hans Gruber, his instinct was to turn it down. He didn’t want to be a terrorist in an action movie. Rickman said (no, I’m not even going to attempt doing Rickman’s voice here): "I didn’t know anything about L.A. I didn’t know anything about the film business… I’d never made a film before, but I was extremely cheap. I read [the script], and I said, 'What the hell is this? I’m not doing an action movie.' Agents and people said: ‘Alan, you don’t understand, this doesn’t happen. You’ve only been in L.A. two days, and you’ve been asked to do this film.'" Of course, in the end, Rickman accepted the role. Rounding out the cast were Bonnie Bedelia as John’s wife Holly, Reginald VelJohnson as Sergeant Al Powell, Paul Gleason as Deputy Police Chief Dwayne Robinson, William Atherton as reporter Richard Thornberg, James Shigeta as Joseph Takagi, De’voreaux White as limo driver Argyle, and a whole mess of big tall dudes as Hans’s gang of robbers. While Hans is supposed to be German, Alan Rickman is British, and his right hand man Karl, played by Alexander Gudunov, is Russian. The rest of the crew was portrayed as more… vaguely international. That’s because there were chosen more for their intimidating look and height – 9 of the 12 were over 6 feet tall. And they certainly didn’t speak German – most of what they said in “German” was pretty much gibberish. As a final bit of casting trivia, there are three Playboy Playmates in Die Hard. Kym Malin (May 1982) is the woman discovered having sex in the office when the terrorists arrive. Terri Lynn Doss (July 1988) is the woman who hugs someone at the airport. And Pamela Stein's November 1987 actual centerfold is the one on the wall of the under-construction building hallway. The set Speaking of the under-construction building hallway – we have to talk about the set. Now, back in 1975, Roderick Thorp saw the movie The Towering Inferno, and dreamed about a man running through a skyscraper chased by men with guns. It’s what led to the high-rise setting of Nothing Lasts Forever, and eventually Die Hard. If you’ll remember, the cover of the book, with the building on fire, was what convinced Lawrence Gordon to buy the rights, after all. Call it coincidence or good luck or a sign of things to come. But 20th Century Fox was just wrapping up construction on their new office building, a brown steel-and-glass building at 2121 Avenue of the Stars in Century City, which would be named Fox Plaza. Or, as we know it better: Nakatomi Tower. It was production designer Jackson De Govia’s idea to use the building as Die Hard’s location. Getting to use the building required extensive negotiations with Fox. They had to agree to no daytime filming, and no explosions (whoops). According to McTiernan, "We had to periodically run downstairs and apologize to the lawyer beneath us, saying 'we're about to fire machine guns; will you excuse us?'" The scene where the SWAT team’s armored vehicle knocks over a stair railing in the front of the building caused months of negotiations alone. But in the end, Die Hard got its location, and Fox not only got to showcase its shiny new headquarters – in fact, a lot of early promotional material featured only the building, and not Bruce Willis – but they charged themselves rent for the building’s use. That’s actually pretty common in the film industry. The bookkeeping in the movie business is… interesting. The interior of the building was still incomplete, so any shots you see of under-construction offices were actually shot in the unfinished parts of the building. Other sets were constructed at Stage 15 in the regular studio lot. Using the half-finished areas allowed McTiernan and cinematographer Jan De Bont to place fluorescent lights in the ground and have half-finished structures in the foreground. The maze-like feeling of the offices and hallways was deliberate. Jackson De Govia said, “When I first read the script, I saw a jungle maze. It reminded me of the book High Rise by J.G. Ballard, in which a modern building becomes a tribal battleground. I wanted to make a building where that kind of action could take place. When the building is a jungle, people revert to utter realism, which is savagery… There are entire sequences where McClane moves through the building not touching the floor, like a predator in a jungle.” Although you might think so with a quote like that, De Govia didn’t work on Predator with McTiernan. De Govia had previously worked on a variety of movies, including Red Dawn, so he did have some experience with everyday folks fighting terrorists… De Govia did carry a visual element from McTiernan’s Predator to Die Hard, though: both Schwarzenegger and Willis crawl through waterfalls during the action. You see, the lobby of the Nakatomi Corporation’s office is a dead-on copy of the famous Frank Lloyd Wright-designed house Fallingwater, complete with stone walls and, uh, falling water. De Govia was inspired by Japanese corporations buying up American institutions – something that was freaking out Americans in the late 80s. He created a backstory where Nakatomi bought the actual house and had it reassembled in their lobby on the 30th floor of the building, waterfall and all. Directing style Now, putting McClane under waterfalls, into ventilation ducts and elevator shafts, under tables, and swinging him from firehoses certainly play to that guerilla-jungle spirit of Die Hard’s set. But the problem with a maze-like set is making sure the audience knows where everyone is, and where the action is taking place relative to the other players. Brad Bird, director of The Incredibles and Mission: Impossible - Ghost Protocol, analyzed Die Hard for Rolling Stone magazine. He said, “John McTiernan’s direction is an amazing piece of intricate craftsmanship. What a lot of filmmakers have trouble communicating is a sense of geography. For instance, one floor of a building under construction looks a lot like any other floor. But McTiernan put in little things, like a Playboy centerfold hung up by a construction worker. At first it seems like a visual joke, but it’s really there to identify that floor, so when Willis encounters it again, the audience knows exactly where he is. Many directors also shoot action very sloppily – they shoot up close and cut around a lot and put in all these big noises to distract you. But in Die Hard, you know where every character is every second of the movie. Things are going by at a fast clip, but you’re never lost.” This kind of dynamic but geographically-clear directing was McTiernan’s signature style, already on display in his previous film, Predator, as Arnold and his crew battle a literally invisible alien in the South American jungle. McTiernan is known for helping the audience understand the relative locations of people and things within a space by using as few cuts as possible; instead, he keeps rolling as he pans the camera from something on one side of the room to the other side of the room. For example, in Die Hard, when the building’s alarm goes off and the henchman in the lobby acknowledges it, the camera moves from the alarm on the right to the henchman on the left, without cutting – just like you’re there yourself, turning your head to see. You can tell he’s sitting just to the side of the blinking alarm. Similarly, McTiernan will rack focus from something in the foreground to something in the background, or vice versa. Again, this creates a feeling of depth within a single shot and allows the viewer to follow where things are with their own eyes. It avoids confusion, and is in a way more efficient as you allow the audience to track things themselves instead of having to explain things every time. Connecting these shots with a moving camera also keeps things, well, moving. The camera roams around, taking in the shot in a natural way, the way your own eye would. The objects and people within the frame are arranged to guide your eye (and therefore the camera, as it mimics the movement of your eye) from one thing to the next, leading you to discover important clues to the story. McTiernan says, “The camera isn't just moving for the sake of keeping it moving. The camera is an active narrator in a thriller. The camera has to tell you how to evaluate every piece information you get and put it into context.” McTiernan was able to achieve this kind of visual storytelling with the work of his supremely talented cinematographer, Jan De Bont. De Bont was born in the Netherlands and had quite a body of work already; McTiernan was already fascinated by what was considered “European-style” camera movement, and had particularly admired De Bont’s work with director Paul Verhoeven in The Fourth Man. McTiernan was trained in this so-called “European style” of filmmaking, and it fits right in with what we’ve already discussed about his style. You see, not only do McTiernan (with De Bont) move the camera to naturally create a sense of geography, they also enhance emotion and tension with “unmotivated moves.” By moving the camera (tilting, panning) and zooming in on someone’s face, they heighten their expression. It’s just like when you’re in an uncomfortable or tense situation, and the first thing you do is look at everyone’s faces to understand how they’re reacting, so you can know how to react, too. Production Die Hard’s principal photography began on November 2, 1987. The film had a surprisingly low budget of $28 million – it’d more than double that for the sequel. Once everything was in place, things had to move fast – 20th Century Fox wanted to release the film the very next year. That lead to a lot of making shit up as they went. A lot. The script wasn’t even entirely done when they began shooting. The heart of John McClane was still a bit of a mystery. Sure, they knew Bruce Willis was not going to be playing McClane like he would have the hardened cop Joe Leland from Nothing Lasts Forever, but there was still something missing. It wasn’t until halfway through shooting that Willis and McTiernan realized that John McClane simply doesn’t like himself all that much. You know that moment where John argues with Holly in her office at the beginning of the movie, and he bangs his head on the doorframe after she walks out? That was a reshoot done way later, once they’d clued in to what makes McClane tick. McClane’s sarcastic humor was also the result of on-the-fly rewrites. Bruce Willis said about shooting, “I remember that the script was in flux. It would change and they would rewrite scenes and we would come in and there'd be new scenes. I'll give you an example. The second biggest line in Die Hard was 'Come out to the coast, we'll get together, have a few laughs…' That line was written while I was in this mock-up of a ventilator shaft, trapped in there, I couldn't come out. In those days, a cell phone looked like a shoe box, they were enormous. And someone had to hand me a phone with Steven de Souza, the writer for the rewrites on Die Hard, and he'd tell me a line, they'd turn the camera on, we'd shoot it.” There’s some debate about whether or not the biggest line in the movie was the result of improv or not. In a 2013 interview with Ryan Seacrest, Willis said that “Yippee-kay-yay, motherfucker” was “just a throwaway. I was just trying to crack up the crew and I never thought it was going to be allowed to stay in the film.” Then again, writer Steven De Souza recalled the creation of that line a little differently. “Bruce and I grew up watching the same TV shows,” he said. “Roy Rogers used to say ‘Yippee ki yay, kids.’ So it had to become ‘Yippee ki yay, motherfucker’ in the movie. That line was from me. Whenever you think you’re writing a line that’s going to catch on, it never does. A lot of people, cough, Sylvester Stallone, cough, think they can invent them. The line you think is going to catch on never catches on and the audience decides what is the takeaway line.” Damn. De Souza shading both Willis and Stallone at the same time… Aspects of Alan Rickman’s Hans Gruber were yet to crystalize, too. The filmmakers wanted John and Hans to have a “mano a mano” meeting somehow, before the final showdown. When De Souza learned that Rickman could do a “good” American accent (which… No disrespect, but I think good is up for debate…), he put it together with the fact that up until this face to face meeting, John had only heard Hans, and speaking with a German accent, over the radio. So, Hans, searching for his detonators, runs into John… and pretends to be a hostage named Bill Clay who has slipped away. To stay on this scene for just a minute longer: there’s a bit of a “controversy” where it’s not explicitly explained how John figures out that Hans is only pretending to be a hostage. How would John know not to give Hans a loaded gun? Well, in an earlier scene that was cut from the final film, everyone in Hans’s gang synchronizes their watches – and they’re all wearing the same watch – something McClane, as a cop, would have noticed as he searched the bodies of the bad guys he’d already snuffed. Steven De Souza says, “When Bruce offers the cigarette to Alan Rickman, Bruce sees the watch. You see his eyes look at the watch. That's how he knows that he is one of the terrorists.” So supposedly this is some big plot hole caused by the cut scene. But if I can interject for just a second – and I can, it’s my podcast – I think that’s bullshit. It’s not a plot hole. We don’t need it spelled out for us how John figures out that Hans is one of the terrorists. John’s a cop, and clearly a good one – I mean, he’d survived that far into the movie, he’s gotta be pretty skilled. The audience can fill in that he caught something we didn’t. He can be smart; he can know things the audience doesn't know. He can notice the watches, or he can have a gut feeling, or he can just have the common sense to not hand a loaded gun to a perfect stranger in a really dangerous situation. Anyway. When it comes to plot holes, there is one in Die Hard that is easy to miss, but is, in fact, logically inconsistent. Up until two weeks before the end of shooting, filmmakers still didn’t know how the gang was going to try to escape. They decided that the gang’s plan would be to drive away through the chaos of the inevitable disaster scene in an ambulance that was hidden in the back of the box truck they used to drive into the building. Not a bad plan… Except for the part where they don’t bring the ambulance with them at the start of the movie. If you look at Hans and company arriving at Nakatomi Tower in their truck, you can see the truck is way too small to contain another vehicle… and besides, it’s not there behind the men as they wait to unload. Whoops. The stunts But then, we’re not coming to Die Hard to pick apart its continuity. We’re here for some action! Die Hard employed 37 stuntmen, under stunt coordinator Charlie Picerni. Stunt doubles were used for many of the action scenes – this is Die Hard, not Mission: Impossible, after all. Things always have the potential to go disastrously wrong, and there were a few on-set accidents, but fortunately none were too grave. When McClane goes down the ventilation shaft, you can see him fall – and that wasn’t on purpose. The stunt man was supposed to grab the very first ledge within the shaft, but he missed – and editor Frank Urioste kept his fall in the final film, cutting back to McClane catching himself on a ledge way below the one he was supposed to grab. One of Die Hard’s stunt performers is actually a Technical Academy Award-winner for his Decelerator System, which is a cable system that allows stunt performers to “fall” more safely from a higher height, and to be shot from any angle. Ken Bates explains his invention: “When we did Die Hard, I started using a device called a Descender, to do controlled falls. In other words, we do a controlled fall from anywhere up to 105 stories. The fall is controlled because you’re descending on a small cable. If the film is undercranked, it looks like you’re falling.” Bates clearly knew what he was doing with his Decelerator System, since he was the one who acted as Rickman’s stunt double during his fall from Nakatomi Tower. (He also doubled Bruce Willis when he leapt off the top of the building with a firehose.) Bruce Willis and Alan Rickman did perform a couple of stunts of their own. John McTiernan recalled, “The first time we got to the point in a scene where you would insert a stuntman, I told Bruce he would only have to take it up to here, and he then could go sit down. He said, ‘No, I want to do it.’ And all of a sudden, you saw that New Jersey street kid in him come out. It’s not that he did anything dangerous, but it was a side that he had not shown us before.” Bruce Willis explained why he was so game. “I think doing my own stunts whenever possible adds a lot to the production value of the film… John can get the camera close, because he doesn’t need to disguise the stuntman. But on a personal level, it satisfies the little boy who still lives in me who gets to shoot guns, kill the bad guys and be a hero while doing jumps and falls and swinging from ropes.” McClane famously ran around Nakatomi Tower without shoes on, but Bruce Willis got a little more protection. He was given a pair of rubber feet to wear – they make him look a little hobbit-like, since they had to slip on over his own feet. You can see them in the scene when McClane jumps off the edge of the roof as the FBI shoots at him from the helicopter. McTiernan and weapons specialist Michael Papac also dialed up the intensity of the stunt weapons for added realism. As in most movies, the firearms in Die Hard are real weapons that have been modified to shoot blanks. But these blanks were specially handcrafted by Pacpac. McTiernan wanted the muzzle flash to be exaggerated and the sound to be extra-loud. He got what he wanted, but not without a price. When McClane shoots a terrorist from underneath a conference table, the gun was in such close proximity to his unprotected ears that the bangs gave Willis permanent hearing loss. Willis said, “Due to an accident on the first Die Hard, I suffer two-thirds partial hearing loss in my left ear and have a tendency to say, ‘Whaaa?’” The deafening blanks got to Rickman, too. Every time he fired his gun, Rickman would flinch. McTiernan was forced to cut away from Rickman’s reactions so his expression wouldn’t be caught on film, but you can see one of them right after Hans shoots Takagi at the beginning of the movie. The most famous stunt in the movie is Hans Gruber’s fall from the window of Nakatomi Tower. We’ve already discussed how stuntman Ken Bates was able to pull off the actual fall, but it’s the beginning of the fall, where we see Hans’s shocked face in slow motion, that makes it so heart-stopping. That, of course, is actually Alan Rickman falling, although from not quite as high a height. "John McTiernan had to talk Alan into doing that shot because even stuntmen will generally not fall backwards – they like to see where they're going," said visual effects supervisor Richard Edlund. For Hans’s fatal fall, Alan Rickman was to be dropped from 25 feet in the air, with a blue air bag below him and a camera above him to capture his expression. The camera was shooting at 270 frames per second to capture Hans’s plummeting face at a rate ten times slower than normal. Rickman was understandably apprehensive about the stunt. It didn’t help that, legendarily, the crew told him they’d give him a countdown of three, two, one, go – and drop him on “Go” – and instead… they dropped him on one. Rickman wasn’t exactly happy with the crew for that surprise bit of acting motivation, but miraculously, they convinced him to do a second take. Ultimately, the crew’s prank (?) worked – the first take is the one you see in the film. Release and reception Die Hard wrapped in March 1988, just four months before the film was set to be released. As the filmmakers got to work on post-production, the studio did not exactly demonstrate a lot of faith in the film. As mentioned earlier, the early publicity didn’t even have Bruce Willis on it; the poster featured the Fox Plaza building as the star of the show. The advertising campaign for the film was short, too – especially by today’s standards. In contrast, I think I saw the trailer for Mission Impossible: Fallout in front of every movie I saw for at least two years before it was released! Everyone seemed worried. Test audiences rated the movie poorly, and “had no interest in seeing [Bruce Willis] dart around a skyscraper shooting terrorists.” The New York Times summer movie preview doubted Willis was “enough of a movie star to carry the film,” and Newsweek’s David Ansen was even more harsh, saying Willis was “the most unpopular actor ever to get $5 million for making a movie.” Film critic Roger Ebert gave it a mere two stars, and criticized the stupidity of the deputy police chief character, claiming that "all by himself he successfully undermines the last half of the movie." 20th Century Fox was convinced it had a flop on its hands. The movie was released on July 15th, 1988, in only 21 theaters in 20 cities, where it earned only $600,000 its first weekend. But then… audiences liked it. They loved it. They kept coming back. In the second week, the movie expanded to 1,200 theaters across the country. After Die Hard opened wide, it started out in third place at the box office, taking in $7 million. From there, strong word of mouth took it to the top, where it lived in the top five for ten weeks. It only dropped into sixth place in October. Die Hard finished its theatrical run with $83 million domestic and another $57 million worldwide – completely making up for that $5 million paycheck Bruce Willis got. It was the seventh-highest grossing movie of 1988. It also enjoyed a long, successful run on home video – something we’ll talk about later in this series. Not only was Die Hard a financial triumph, it received Oscar nominations for editing, visual effects, sound and sound editing. And it turned Bruce Willis into a star. The kind of star who’d later join Arnold Schwarzenegger and Sylvester Stallone – the very action stars he essentially replaced – in opening up a chain restaurant themed on Hollywood celebrity. And so, that’s the story of how Die Hard got made. There are certainly parts I’ve missed, or pieces of the story that have changed over time. Filmmaking stories sometimes take on the quality of oral histories, especially when the resulting film becomes a legend. Throughout the rest of this podcast series, we’ll explore why Die Hard has become so celebrated among action movies, 80s movies, movies in general. I’m excited to invite you to the party with me. Come out to the show, we’ll get together have a few laughs… Anyway, thank you for joining me. Happy trails, and yippee-kai-yay, motherfuckers.

THE DOOMED & STONED SHOW Season 4, Episode 8 It's time already for another countdown show based on the monthly Top 25 from www.DoomCharts.com. Billy Goate (editor of Doomed & Stoned) and Bucky Brown (contributor to The Ripple Effect) talk about their impressions of each album on the August 2018 chart and share their favorite tracks. PLAYLIST Introduction 1. Birmani - "L'Hiver (est long en criss)" 2. Kilmore - "Dark Matter" The Countdown 3. Red Sun Atacama (no. 25) - "Gold" 4. Alms (no. 24) - 'The Offering" 5. Witchskull (no. 23) - "Priestess" 6. Orange Goblin (no. 22) - "Sons of Salem" 7. Sahara (no. 21) - "The Chosen One (The Gem Part 3)" 8. The Great Electric Quest (no. 20) - "Seeker of the Flame" 9. Black Elephant (no. 19) - "Baby Eroina" 10. Rivers of Gore (no. 18) - "Shell Shock" 11. Lucifer (no. 17) - "Eyes in the Sky" 12. Son of the Morning (no. 16)- "The Midwife" 13. Backwoods Payback (no. 15) - "Whatever" 14. Jack Harlon & The Dead Crows (no. 14) - "Los Plagas" 15. Seedy Jeezus (no. 13) - "Barefoot Travellin' Man" 16. Spaceslug (no. 12) - "Vialys part I & II" 17. Haunt (no. 11) - "Wanderlust" 18. Rough Spells (no. 10) - "Modern Kicks for the Solitary Witch" 19. Fire Down Below (no. 9) - "Ascension" 20. Kingnomad (no. 8) - "The Great Nothing" 21. Tempelheks (no.7) - "Slither Did My Queen" 22. Spacetrucker (no. 6) - "Meat Wagon" 23. Demonauta (no. 5) - "Blues para Angela Loij" 24. Saint Karloff (no. 4) - "When The Earth Cracks Open" 25. 1968 (no. 3) - "Devilswine" 26. Brimstone Coven (no. 2) - "Earth and Ocean" 27. Forming The Void (no. 1) - "Extinction Event" If you dig the music, please support the bands. You can help keep this show going by becoming a Patron at http://patreon.com/billygoate. Supporters receive an exclusive podcast every month.

THE DOOMED & STONED SHOW Season 4, Episode 4 On this edition of The Doomed & Stoned Show, it's already time for the monthly DOOM CHART COUNTDOWN, with host Billy Goate joined by guest host Bucky Brown from The Ripple Effect. Together, they discuss the albums that landed in the Top 25 for July 2018 at www.DoomCharts.com. PLAYLIST: Introduction 1. Alice In Chains - "So Far Under" (00:27) 2. La Chinga - "Killer Wizard" (0:500) 3. Backwoods Payback - "Pirate Smile" (09:15) The Countdown 4. Host Segment I (13:29) 5. SVVAMP (#25) - "Surrender" (22:35) 6. Great Electric Quest (#24) - "Anubis" (25:32) 7. Kaiser (#23) - "Earthquake" (28:53) 8. Host Segment II (33:33) 9. Shrooms Circle (#22) - "Trapped" (37:49) 10. Haunted (#21) - "Vespertine" (42:24) 11. Khemmis (#20) - "Flesh to Nothing" (55:47) 12. Host Segment III (1:03:18) 13. Alms (#19) - "For Shame" (1:07:59) 14. Jack Harlon & The Dead Crows (#18) - "Witchcraft" (1:14:20) 15. Orange Goblin (#17) - "The Wolf Bites Back" (1:20:49) 16. Host Segment IV (1:25:22) 17. Sleep (#16) - "Antarcticans Thawed" (1:29:38) 18. Bongripper (#15) - "Slow (excerpt)" (1:44:02) 19. Seedy Jeezus (#14) - "Oh Lord (Pt. 2)" (1:52:47) 20. Host Segment V (1:57:36) 21. Red Sun Atacama (#13) - "Drawers" (2:02:20) 22. Kingnomad (#12) - "Cosmic Serpent" (2:06:41) 23. Saint Karloff (#11) - "Dark Sun" (2:11:29) 24. Host Segment VI (2:17:03) 25. ASG (#10) - "Survive Sunrise" (2:21:24) 26. Forming The Void (#9) - "Transient" (2:24:52) 27. Drug Cult (#8) - "Acid Eye" (2:30:38) 28. Hos Segment VII (2:34:40) 29. Black Elephant (#7) - "Cosmic Soul" (2:40:24) 30. Fire Down Below (#6) - "Saviour of Man" 31. Lucifer (#5) - "Faux Pharoah" 32. Host Segment VIII (2:53:50) 33. Spaceslug (#4) - "Words Like Stones" (2:59:07) 34. 1968 (#3) - "Screaming Sun" (3:07:34) 35. Yob (#2) - "Ablaze" (3:12:15) 36. Host Segment IX (3:22:28) 37. Brimstone Coven (#1) "The Red Witch" (3:26:28) If you enjoy the music, please show the bands some love! Information about purchasing the albums in today's show at www.DoomCharts.com. Thumbnail: Adam Burke of Nightjar Illustration Incidental Music: Clouds Taste Satanic, Idealus Maximus, Psyrup, and Trippy Wicked & The Cosmic Children of Knight ---------------------------------- Please consider becoming a Patron of the Doomed & Stoned Show. Supporters get an exclusive podcast with new music each month. Visit www.patreon.com/billygoate to make your pledge. ---------------------------------- Explore the music and the stories of the heavy underground at www.DoomedandStoned.com. Daily music updates and short reviews at http://facebook.com/doomedstoned. Dig even deeper into the heavy music scene with our ongoing compilation series, bringing you doom around the world! Visit http://doomedandstoned.bandcamp.com -------------------------------

THE DOOMED & STONED SHOW Season 4, Episode 3 Billy Goate (editor of Doomed & Stoned) and Bucky Brown (contributor to The Ripple Effect)were finally able to carve out some time to do another countdown show! In this episode, they take a listen to some of their favorite tracks from the Top 25 from the month of June 2018, brought ot you by www.DoomCharts.com, a monthly publication that brings together a consensus of album picks from bloggers, reviewers, and broadcasters who traffic in the doom-stoner sound. PLAYLIST: Introduction (00:00) Clutch "How To Shake Hands (00:26) Void Commander "Space Demons" (04:19) THE COUNTDOWN Host Segment I (10:03) # 25 - CHRCH "Aether" (17:22) # 24 - Spaceslug "Obsolith" (26:52) # 23 - Gozu "Ricky 'The Dragon' Steamboat" (35:02) Host Segment II (41:33) # 22 - Boss Keloid "Tarku Shovel" (47:10) # 21 - Khemmis "The Seer" (54:25) # 20 - Witchskull "The Empty Well" (1:00:27) Host Segment III (1:06:44) # 19 - Mystic Sons "Mephistopheles" (1:12:12) # 18 - Fire Down Below "Ignition/Space Cruiser" (1:17:20) # 17 - Alms "Deuces Low" (1:25:10) Host Segment IV (1:29:48) # 16 - Haunted "Dayburner" (1:35:17) # 15 - Church of the Cosmic Skull "Science Fiction" (1:44:10) # 14 - High Priestess - "Take The Blame" (1:49:16) Host Segment V (1:55:53) # 13 - ASG "Lightning Song" (2:02:27) # 12 - Mos Generator "Shadowlands" (2:07:11) # 11 - Drug Cult "Serpent Therapy" (2:11:45) Host Segment VI (2:20:36) # 10 - Dopethrone "Planet Meth" (2:24:09) # 9 - Orange Goblin "Sons of Salem" (2:27:53) # 8 - SVVAMP "The Wheel" (2:30:54) Host Segment VII (2:34:50) # 7 - Kaiser "Desert Eye" (2:44:27) # 6 - Beastmaker "Demon Witch Child" (2:48:36) # 5 - Witch Mountain "Midnight" (2:52:02) Host Segment VIII (2:57:01) # 4 - Sleep "Marijuananaut's Theme" (3:06:53) # 3 - Seedy Jeezus "My Gods Are Stone" (3:13:33) # 2 - Graveyard "It Ain't Over Yet" (3:19:09) Host Segment IX (3:22:48) # 1 - Yob "Beauty In Falling Leaves" (3:28:22) If you dig the music, please support the bands! Info on the purchase of the albums featured in this broadcast can be found at www.DoomCharts.com. Archived broadcasts of The Doomed & Stoned Show at https://www.mixcloud.com/doomedandstonedofficial Also, The Doomed & Stoned Show now has a Patreon! Become a patron and get an exclusive podcast just for supporters every month. More perks coming! Visit: http://patreon.com/billygoate for details. Explore the music and the stories of the heavy underground at http://DoomedandStoned.com Daily updates at http://facebook.com/doomedstoned and http://twitter.com/doomedandstoned. Live concert footage at http://youtube.com/doomedandstoned Check out our ongoing scene compilation series at http://doomedandstoned.bandcamp.com. (thumbnail by Malleus Rock Art Lab, from ASG's LP 'Survive Sunrise' on Relapse Records)

This week, Oscar®-nominated writer Randall Wallace reflects on his  iconic and Academy Award®-winning film, Braveheart followed by screenwriter, Jeb Stuart who dissects the screenplay for his classic thriller The Fugitive, and fills us in on the story's journey from script to screen. Randall Wallace is the Oscar®-nominated creative force behind many box-office hits such as Braveheart, We Were Soldiers, Pearl Harbor, Secretariat, and The Man in the Iron Mask. After drawing the interest of director and star Mel Gibson Braveheart became Wallace’s first produced screenplay and ended up the film success story of 1995, winning the Academy Awards® for Best Picture and Best Director, Writers Guild Award for Best Screenplay, as well as garnering Oscar® and Golden Globe nominations. AFF Executive Director, Barbara Morgan spoke with Wallace at a retrospective screening of the film in at the 21st annual Austin Film Festival in 2014. Clips from this episode copyright: B.H. Finance, CV, Icon Productions and Ladd Company. Jeb Stuart is the writer/producer responsible for the screenplays of several blockbuster films including Die Hard, The Fugitive, Fire Down Below, Another 48 Hours and Switchback which he also produced. Jeb Stuart spoke with No Film School contributor, Christopher Boone at the 22nd annual Austin Film Festival in 2015. Clips from this episode copyright Warner Brothers, a division of Time Warner Entertainment Company, LP.    

That's Not Metal celebrates the return of Code Orange including what it means for Corey Taylor and there's chat on the upcoming Slipknot album plus reviews on the new albums from Panic! At The Disco, Vein, Mike Shined and Fire Down Below and Album Club sees a massive in-depth review of Avenged Sevenfold's breakthrough album, Waking The Fallen.

Featuring Zeal & Ardor, Fire Down Below and many more Spotify: open.spotify.com/user/sz2dxe20par4yz00hgvt2hcuz/playlist/6kp0IGMQg1mp2DKS186DP0?si=2To1XwhuQvWupWfMDirApg Google Play: play.google.com/music/preview/pl/AMaBXykCUwyPtduGhZGgvgejkriWhsGmyjIFly1t5AID8zVLk2Vnh6P3mdj5RLkIpLLcMJDQlu0ww2hqkEswpiiLOulkN-QKqg== Yob - Beauty in Falling Leaves Tomb Mold - Chamber of Sacred Ootheca DevilDriver - Ghost Riders in the Sky Zeal & Ardor - Fire Of Motion Black Fast - Silhouette Usurper As I Lay Dying - My Own Grave Exmortus - Tempest Fire Down Below - The Cosmic Pilgrim Cast the Stone - As the Dead Lie Jungle Rot - Fearmonger This is the Metal Utopia Podcast! Every week the writers at Metal Utopia put together a list of the top ten songs released over the past week and put them into a playlist for our readers/listeners to check out. Three of our writers (Hayden, Pico & Joey) then get together and discuss four or five of their favorite tracks from the playlist. Come join us!

- Fire Down Below -  This is our D&D "actual play" campaign featuring the Board with Life cast and crew! This Dungeons and Dragons 5th edition campaign titled "XP Academy" takes place in a custom campaign setting created by Donald about a school for heroes in one of the weirdest and most forbidden places on the globe. The players rolled their stats and start with almost nothing. They'll have to fight for every scrap, but if they survive well... supposedly that makes them special. Dig the show?  Rate us on iTunes and tell your friends! Thank you for supporting us on Patreon! Patreon.com/BwLRadio Featured players: Donald Shults (Show-Runner/Writer/Director) as the Dungeon Master Chris Bryan (Show-Runner/Writer/Director) as Smith Dith Rith the 5th the Tabaxi Fighter Niki Shults (Writer/Director) as Zjaran the Tritan Ranger Andrew Manson (Music/Assistant Director) as Maswin the Gnome Wizard Adam Henderson (Editor/Camera) as Gwenderson the Human Cleric Subscribe using RSS and/or iTunes Here is the Map we are using for this session: Check out the Simplified Encumbrance rules we are using thanks to Designbot:  http://www.enworld.org/forum/rpgdownloads.php?do=download&downloadid=1232 Like board games? Check out our show Board with Life! Follow us on social media: facebook.com/ImBoardWithLife twitter.com/ImBoardWithLife youtube.com/MoonratMedia

Movie Meltdown - Episode 277 This week we sit down with one of the most interesting guests we’ve ever had… Joe Alves. He’s an artist, production designer, art director, second unit director, sculptor, director… you name it, if it’s related to bringing a movie to life – Joe’s probably done it. He’s best know for his work on the “Jaws” series of films, but over the years he’s worked on some of the biggest movies in Hollywood, including Forbidden Planet, Torn Curtain, Mutiny on the Bounty, Sleeping Beauty, My Fair Lady, Close Encounters of the Third Kind, It's a Mad, Mad, Mad, Mad World, Starman, The Sugarland Express, Escape from New York and so many others! Joe is a fascinating man with a phenomenal work history… and work ethic. And as we discuss shooting scenes of the shark in Joe’s pool, we also mention… working at Disney, Josh Meador, working with Hitchcock, An American in Paris, rotoscoping, John Cassavetes, sculpting the shark, I got nominated for the NAACP Image Award, I’ve got these young people that I want you to meet, John Carpenter, Portugal, the Id, junior set designer, the left to right shark, Harry Dean Stanton, Hayward California, Mad Men, Moby Dick, Lea Thompson… so cute… so charming, Ken Russell, French impressionist paintings, rendering each frame, Mr. Newman has to eat his asparagus with gloves, 300 storyboards, stealing Antonio Gatti’s architecture, you’re late for the training program, I say… the shark worked or you wouldn’t have been scared, Korean veterans, more shark… more shark… more shark, what wasn’t easy was dealing with the producer, the gas station was supposed to collapse,  Louis Gossett Jr., we were at the top of the Twin Towers, edgier Alice in Wonderland,  the shark made all these funny noises, Debra Hill, production design, Steven Spielberg, racing formula one cars, Fire Down Below, that guy got nominated for an Academy Award… and he’s putting posters up, drafting, two thousand pounds of weight to pull the barrel down, shooting in 3D, Steven Seagal showed up late… didn’t have his lines and Eisenhower invading Normandy.  “The idea that the shark never worked… it was all nonsense!”

October 31, 2011 Main Topic: Halloween! Special Guest Scott L. Schwartz We celebrate the season of the witch by an informal, stream-of-consciousness look at Halloween through the years. Costumes are discussed, trick-or-treating traditions are analyzed, and the true cynicism of the college worldview comes out. Scott Schwartz is an Israeli born American film andtelevision actor and stuntman, and former professional wrestler. He is known for his work in such films and TV shows as Buffy the Vampire Slayer, Angel, Star Trek: Voyager, Star Trek: Enterprise, The Scorpion King, Charmed, The Tick, and Black Scorpion among others, but he is probably most recognized for his role as 'The Bruiser' in the films Ocean’s Eleven,Ocean’s Twelve and Ocean's Thirteen. He has appeared in such big budget films as Spider-man, Fire Down Below, Starsky & Hutch, and Fun with Dick and Jane. Apart from his acting, and after completing training, Schwartz became a Los Angeles County Sheriff's Deputy and a deputy with the Los Angeles County Sheriff's Department Reserve Forces Bureau. Schwartz also started the Scott L. Schwartz Children's Foundation, a non-profit organization aimed at lifting the spirits of childen battling cancer. He currently resides in Long Beach, California. http://www.ultimatebadguy.com/ http://www.imdb.com/name/nm0777435/ http://scottlschwartzchildrensfoundation.wordpress.com/