Podcasts about fox films

This week on That Wedding Videographer Podcast, we've got the incredible James Fox from Fox Films joining Danny & Jase to chat all things communication!

We review the winner of the 6th Academy Award Cavalcade from Fox Films.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

Saudações, ouvintes apaixonados por locução. Está NO AR o 70º podcast VOZ OFF! Este episódio é um ESPECIAL da série de podcasts Voz Off. Antônio Viviani e Nicola Lauletta vão homenagear mais uma grande voz do rádio, da TV e do cinema! Nascido em Niterói - RJ, começou sua carreira ao microfone nos Estados Unidos, para onde havia se mudado para cursar química, após ganhar a viagem em um concurso. Passou dificuldades nos primeiros tempos nos EUA, e já estava desistindo do curso de química quando viu um anúncio procurando locutores e resolveu tentar a sorte - e ela sorriu para ele! Fez narrações memoráveis para a Metro-Goldwyn-Mayer e para a Fox Films, trabalhou na Voz da América entre outras, e pode ser considerado um dos maiores expoentes - senão o maior - da locução brasileira! Foi até narrador dos Estúdios Disney e era amigo pessoal de Walt Disney! Quem nos contou essas e muitas outras histórias foi Rodrigo, filho de Ramos Calhelha, nosso homenageado neste podcast #070 ESPECIAL! A conversa com Rodrigo Calhelha aconteceu em 18 de maio de 2023, dia em que Ramos estaria completando 104 anos se estivesse vivo. Tivemos também a participação de Julio Franco - que teve um breve convívio com o Ramos - e temos que citar um outro amigo dele: Décio Montagnini - o Ico - que não esteve na entrevista mas procurou anteriormente o Antônio Viviani e entregou um vasto acervo de gravações inéditas, fato que nos levou a produzir esse fantástico episódio! Com a gente e pra vocês, o ESPECIAL RAMOS CALHELHA! Para seguir nas redes sociais:- Curta a página do podcast Voz Off no Facebook- Siga o @podcastvozoff no Twitter- Curta a página do Antonio Viviani no Facebook- Siga o @antonioviviani no Twitter- Siga o @antonio.viviani no Instagram- Siga o @nicolalauletta no Twitter- Curta a página do Echo's Studio no Facebook- Curta a página do Workshop de Locução Voz A Obra no Facebook- Ouça também o podcast TEXTO SENTIDO com Antônio Viviani Assine o FEED do Voz Off:Para ouvir o Voz Off no seu agregador de podcasts preferido, clique aqui e assine o nosso FEED! Assine e avalie nosso podcast no iTunes:Se você usa o iTunes no seu computador, tablet ou smartphone, assine e avalie nosso podcast clicando aqui! Voz Off no Spotify:Caso prefira ouvir o Voz Off no Spotify, é só clicar aqui e assinar o nosso podcast no serviço de streaming! E-mails:Mande seu feedback pra gente através do e-mail podcastvozoff@gmail.com! Publicidade:Entre em contato e saiba como anunciar sua marca, produto ou serviço em nossos podcasts.

Saudações, ouvintes apaixonados por locução. Está NO AR o 70º podcast VOZ OFF! Este episódio é um ESPECIAL da série de podcasts Voz Off. Antônio Viviani e Nicola Lauletta vão homenagear mais uma grande voz do rádio, da TV e do cinema! Nascido em Niterói - RJ, começou sua carreira ao microfone nos Estados Unidos, para onde havia se mudado para cursar química, após ganhar a viagem em um concurso. Passou dificuldades nos primeiros tempos nos EUA, e já estava desistindo do curso de química quando viu um anúncio procurando locutores e resolveu tentar a sorte - e ela sorriu para ele! Fez narrações memoráveis para a Metro-Goldwyn-Mayer e para a Fox Films, trabalhou na Voz da América entre outras, e pode ser considerado um dos maiores expoentes - senão o maior - da locução brasileira! Foi até narrador dos Estúdios Disney e era amigo pessoal de Walt Disney! Quem nos contou essas e muitas outras histórias foi Rodrigo, filho de Ramos Calhelha, nosso homenageado neste podcast #070 ESPECIAL! A conversa com Rodrigo Calhelha aconteceu em 18 de maio de 2023, dia em que Ramos estaria completando 104 anos se estivesse vivo. Tivemos também a participação de Julio Franco - que teve um breve convívio com o Ramos - e temos que citar um outro amigo dele: Décio Montagnini - o Ico - que não esteve na entrevista mas procurou anteriormente o Antônio Viviani e entregou um vasto acervo de gravações inéditas, fato que nos levou a produzir esse fantástico episódio! Com a gente e pra vocês, o ESPECIAL RAMOS CALHELHA! Para seguir nas redes sociais:- Curta a página do podcast Voz Off no Facebook- Siga o @podcastvozoff no Twitter- Curta a página do Antonio Viviani no Facebook- Siga o @antonioviviani no Twitter- Siga o @antonio.viviani no Instagram- Siga o @nicolalauletta no Twitter- Curta a página do Echo's Studio no Facebook- Curta a página do Workshop de Locução Voz A Obra no Facebook- Ouça também o podcast TEXTO SENTIDO com Antônio Viviani Assine o FEED do Voz Off:Para ouvir o Voz Off no seu agregador de podcasts preferido, clique aqui e assine o nosso FEED! Assine e avalie nosso podcast no iTunes:Se você usa o iTunes no seu computador, tablet ou smartphone, assine e avalie nosso podcast clicando aqui! Voz Off no Spotify:Caso prefira ouvir o Voz Off no Spotify, é só clicar aqui e assinar o nosso podcast no serviço de streaming! E-mails:Mande seu feedback pra gente através do e-mail podcastvozoff@gmail.com! Publicidade:Entre em contato e saiba como anunciar sua marca, produto ou serviço em nossos podcasts.

THIS VOYAGE, the Treksperts, MARK A. ALTMAN (showrunner, Pandora, The Librarians, Castle) and DAREN DOCHTERMAN (visual effects supervisor, Star Trek: The Motion Picture - Director's Edition) are joined by the president of 20th Century (formerly Fox) Films, STEVE ASBELL, and honorary Trekspert, ASHLEY E. MILLER, as they discuss what went wrong with Star Trek: Insurrection and unpack the late, great Michael Piller's candid memoir about the making of the film, FADE IN. You don't want to miss another Treksperts deep dive into what went wrong with the Star Trek movie franchise. **Support the new documentary, 1982: GREATEST GEEK YEAR EVER, on IndieGogo by visiting 1982movies.com today!!** New episodes of INGLORIOUS TREKSPERTS available every Friday. And don't miss our in-depth curated episode audio commentaries on TREKSPERTS BRIEFING ROOM every week wherever you listen to podcasts. This week, Mark & Daren step into a disintegration chamber on Eminiar 7 to stop "A Private Little War." Only on Treksperts Briefing Room. Learn all that is learnable about Star Trek in Mark A. Altman & Edward Gross' THE FIFTY-YEAR MISSION, available in hardcover, paperback, digital and audio from St. Maritn's Press. And if you're a James Bond fan, don't miss NOBODY DOES IT BETTER, in hardcover, paperback, digital and audio from Forge Books. And don't miss SECRETS OF THE FORCE, the definitive unauthorized, uncensored oral history of STAR WARS, now available in hardcover, digital and audio!! Follow Inglorious Treksperts and Treksperts Briefing Room at @inglorioustrek on Twitter, Facebook and at @inglorioustreksperts on Instagram. This week, guest hosts Peter Holmstrom (The Center Seat) and Lisa Klink (Voyager) are joined by DS9 writer/producer Robert Hewitt Wolfe to discuss "The Wire." #StarTrek #TOS #TAS #TNG #DS9 #VOY #ENT #DISCO #PICARD #LLAP #comics #IDW #Marvel #DC #GoldKey #Discovery #Superman #STTMP #StarWars #CaptainPike #StrangeNewWorlds #55YearTour #auditions #casting #ST55 #StarTrek55 During the pandemic, we are still recording remotely and not in the studio. As a result, the quality of the audio may not be up to our usual high standards. We trust you will nursemaid us through these difficulties. Please stay healthy and safe... and keep on Trekkin' - ingloriously, of course!

Have you ever asked the question, who am I? I know I certainly have and my guess is that you have too. My guest today...Solara Amun Ra formerly known as Raquel Vasallo, literally shed her old paradigm and ways of being to embrace her new identity. It took Solara a near death experience to realize that the fast pace, high achieving lifestyle she was trying to uphold, was literally breaking her down. After this experience she took life into her hands, quit her job and move across the globe Within less than a year Solara was stepping into her truth and creating peace, pleasure and purpose in her life. She began working with top companies such as Fox Films, Paramount Pictures, Sony, Orange Telecom, McDonalds, Westin Palace and major advertising agencies like McCann Erickson and BBDO, helping employees and CEOs radically amplify their creativity, innovation and greater vision. Through that work she found her true calling as an elite mentor to powerhouse visionary women, who are ready to catapult to the next level of success. This time it's not just about financial success, but radical freedom. Ten years later, her life shifted again when she became physically and mentally incapacitated due to severe mercury poisoning. Not being able to read or write, Solara started channeling teachings and paintings that became powerful healing and activation portals. Before listening to this episode you may want to consider, Do you struggle to feel attracted to your partner? Are you pushing hard to get to your goals but can't figure out why you don't ever really quite make it there? Are you resistant to the word purpose? Do you crave more peace and space in your life, but can't quite seem to figure out how to make it happen? Are you tired or running on empty? Do you crave space and peace in your life, but have no idea how to get there? Solara is the #1 Best Selling Author of “Spiritual Seductress, The High-Powered Women's Guide to Devour the World through Spiritual Guidance.” She is the pre-eminent Spiritual Advisor to female Visionaries and Thought Leaders. She is an International Speaker, Mystic Artist and Feminine Leadership Trendsetter. LINKS YOU WILL WANT TO EXPLORE: KRISTA RESNICK | INSTAGRAM | FACEBOOK | THE SCHOOL OF SELF-MASTERY SOLARA AMUN RA | SACRED POWER CIRCLE | FACEBOOK | INSTAGRAM | LINKEDIN

Jessica Mertz is the filmmaker behind one of the wedding world's up-and-coming voices, Honey Fox Films. In this episode Jessica talks about her background in psychology and how she creates a safe place for her couples to be vulnerable with one another in front of her lens. Check out Honey Fox Films:https://www.honeyfoxfilms.com

Here are the things to expect in the episode:How Raquel found her spiritual awakening from a car accident.You can design your life with a purpose! What do you want to be remembered for?Dealing with the disaster of divorce, debt, and a couple of near-death experiences!Chasing after happiness is not wrong. Use your joy as your compass.Taking “bad decisions” as stepping stones towards your goals.Raquel’s bout with adrenal fatigue.And much more! About Solara Amun Ra formally known as Raquel Vasallo:Solara Amun Ra (formerly known as Raquel Vasallo) is the #1 Best Selling Author of “Spiritual Seductress, The High-Powered Women’s Guide to Devour the World through Spiritual Guidance.”She is the pre-eminent Spiritual Advisor to female Visionaries and Thought Leaders. She is an International Speaker, Mystic Artist and Feminine Leadership Trendsetter.Run over by a car in 2008, Solara had a near-death experience that elicited an unprecedented spiritual awakening. She quit her successful career as a NYC architect and embarked on her work as an Elite 5D Spiritual Advisor.She began working with top companies such as Fox Films, Paramount Pictures, Sony, Orange Telecom, McDonalds, Westin Palace and major advertising agencies like McCann Erickson and BBDO, helping employees and CEOs radically amplify their creativity, innovation and greater vision. Through that work she found her true calling as an elite mentor to powerhouse visionary women, who are ready to catapult to the next level of success. This time it’s not just about financial success, but radical freedom.Ten years later, her life shifted again when she became physically and mentally incapacitated due to severe mercury poisoning. Not being able to read or write, Solara started channeling teachings and paintings that became powerful healing and activation portals.Solara has a priceless gift to rapidly unblock subconscious and energetic patterns. She is a Master Ascension Catalyst for profound spiritual fulfillment and radical 5D Bliss living. This opens up the gateway for her multi-million dollar clients to achieve their iconic work in their personal and professional lives. Connect with Solara Amun Ra formally known as Raquel Vasallo!www.thesacredpowercircle.comhttp://www.SolaraAmunRa.comhttps://www.facebook.com/SolaraAmunRahttps://www.instagram.com/SolaraAmunRahttp://linkedin.com/in/solara-amun-ra-b31a8b4LinkedIn: https://www.linkedin.com/in/solara-amun-ra-b31a8b4/The Sacred Power Circle: https://www.solaraamunra.com/sacred-power-circle/ Connect with Kamie Lehmann!Website: https://www.kamielehmann.com/Facebook: https://www.facebook.com/kamie.lehmann.1LinkedIn: https://www.linkedin.com/in/kamie-lehmann-04683473

What is my iconic work? On the podcast this week, Debra talks to Solara Amun Ra about leadership, purpose and doing your iconic work in the world.    EPISODE HIGHLIGHTS  How your purpose is revealed over time.  What it means to lead powerfully and meaningfully.  The importance of Divine Feminine Leadership.  How your personality and uniqueness can boost creativity and innovation.  What the Divine Feminine is and practical tips to tune into your Divine Feminine energy.  Why it's important for women to access their next level of life and business success.  How to move from your zone of excellence to doing your iconic work in the world.    Solara Amun Ra is the #1 Best Selling Author of “Spiritual Seductress, The High-Powered Women's Guide to Devour the World through Spiritual Guidance.”   She is the pre-eminent Spiritual Advisor to female Visionaries and Leaders. She is an International Speaker, Mystic Artist and Feminine Leadership Trendsetter.    Struck by a car in 2008, Solara's near-death experience elicited a spiritual awakening. She quit her successful career as a NYC architect and embarked on her work as an Elite Spiritual Advisor.     Solara began working with companies such as Fox Films, Paramount Pictures, Sony, Orange Telecom, McDonalds, Westin Palace and major advertising agencies like McCann Erickson and BBDO, helping employees and CEOs radically amplify their creativity, innovation and commitment to a greater vision.     Through that work, she found her true calling as an elite mentor to powerhouse visionary women, who are ready to catapult to the next level of success. This time it's not just about financial success, but radical freedom.   Ten years later, her life shifted again when she underwent a body breakdown from severe mercury poisoning. Not being able to read or write, Solara started channeling teachings and paintings that became powerful healing and activation portals.   Solara has a rare gift to rapidly unblock subconscious and energetic patterns. She is a Master Catalyst for profound spiritual fulfilment, unapologetic self-expression, and reaching one's iconic work in the world.    SHOW NOTES Get all episode show notes here: https://www.debrashepherd.com.au/debra-shepherd-podcast   CONNECT WITH SOLARA:   Instagram: https://www.instagram.com/solaraamunra/  Website: http://www.solaraamunra.com     CONNECT WITH DEBRA:   Instagram: https://www.instagram.com/_debrashepherd   Website: https://www.debrashepherd.com.au      Before you go, don't forget to leave a review where ever you listen to your podcasts. Thank you for listening! 

Raquel Vasallo is the #1 Best Selling Author of “Spiritual Seductress, The High-Powered Women’s Guide to Devour the World through Spiritual Guidance.”  She is the pre-eminent Spiritual Advisor to female Visionaries and Leaders. She is an International Speaker, Mystic Artist and Feminine Leadership Trendsetter. Struck by a car in 2008, Raquel's near-death experience elicited a spiritual awakening. She quit her successful career as a NYC architect and embarked on her work as an Elite Spiritual Advisor.  She began working with companies such as Fox Films, Paramount Pictures, Sony, Orange Telecom, McDonalds, Westin Palace and major advertising agencies like McCann Erickson and BBDO, helping employees and CEOs radically amplify their creativity, innovation and commitment to a greater vision.  Through that work Raquel found her true calling as an elite mentor to powerhouse visionary women, who are ready to catapult to the next level of success. This time it’s not just about financial success, but radical freedom.

Raquel Vasallo is the #1 Best Selling Author of “Spiritual Seductress, The High-Powered Women’s Guide to Devour the World through Spiritual Guidance.”  She is the pre-eminent Spiritual Advisor to female Visionaries and Leaders. She is an International Speaker, Mystic Artist and Feminine Leadership Trendsetter. Struck by a car in 2008, Raquel's near-death experience elicited a spiritual awakening. She quit her successful career as a NYC architect and embarked on her work as an Elite Spiritual Advisor.  She began working with companies such as Fox Films, Paramount Pictures, Sony, Orange Telecom, McDonalds, Westin Palace and major advertising agencies like McCann Erickson and BBDO, helping employees and CEOs radically amplify their creativity, innovation and commitment to a greater vision.  Through that work Raquel found her true calling as an elite mentor to powerhouse visionary women, who are ready to catapult to the next level of success. This time it’s not just about financial success, but radical freedom.

You don’t need to know where the Universe is taking you. All you need to do is say YES. I’m joined by Raqual Vasallo, spiritual advisor to visionaries and leaders, to talk about saying yes to yourself, the Universe, and your spiritual sexiness. About Raquel Vasallo Raquel Vasallo is the #1 Best Selling Author of “Spiritual Seductress, The High-Powered Women’s Guide to Devour the World through Spiritual Guidance.” She is the pre-eminent Spiritual Advisor to female Visionaries and Leaders. She is an International Speaker, Mystic Artist, and Feminine Leadership Trendsetter. Struck by a car in 2008, Raquel's near-death experience elicited a spiritual awakening. She quit her successful career as an NYC architect and embarked on her work as an Elite Spiritual Advisor. She began working with companies such as Fox Films, Paramount Pictures, Sony, Orange Telecom, McDonald’s, Westin Palace and major advertising agencies like McCann Erickson and BBDO, helping employees and CEOs radically amplify their creativity, innovation and commitment to a greater vision. Through that work, she found her true calling as an elite mentor to powerhouse visionary women, who are ready to catapult to the next level of success. This time it’s not just about financial success, but radical freedom. Ten years later, her life shifted again when she underwent a body breakdown from severe mercury poisoning. Not being able to read or write, Raquel started channelling teachings and paintings that became powerful healing and activation portals. Raquel has a rare gift to rapidly unblock subconscious and energetic patterns. She is a Master Catalyst for profound spiritual fulfilment, unapologetic self-expression, and reaching one’s iconic work in the world. About Saying Yes to Your Spiritual Seductress When Raquel has a terrible accident, she experienced an incredible spiritual awakening. Or should we say she was literally thrust into spiritually awakening? She basically had no choice! But what she found on this path was that her life was transitioning her into her soul’s purpose. She actually found that this accident led her to find her purpose in life - all she had to do was say yes. We talk about how both of us experienced health problems in our womb that blocked our creative energy. Raquel explains how she took space and time to feel into her womb energy before making any decisions regarding surgery. Now, she’s living her truth, using all the creative energy her womb provides. As Raquel started living her purpose, she found that all other aspects of her life were improving, too. Let’s make one thing clear, ladies. The Universe wants you to succeed! It will absolutely put you where you should be so you can create your success. Something that comes up a lot, both for me and Raquel and our clients, is saying yes to the Universe when where it’s pointing you makes no sense. This is where you have to let go of that logical brain and embrace TRUST in the Universe. We promise it’s not going to steer you wrong. Raquel also talks about combining your spiritual and sexual practices. She’s a firm believer in spiritual sexiness and I love this attitude! Tapping into your sexuality from a spiritual place is honestly so magical. Finally, we really want to reiterate that you don’t need to understand the HOW of what the Universe is pointing you to. All you need to do is say, “yes,” and let the Universe guide you. Did you need to hear this message today? What’s one thing the Universe directed you to say yes to that you couldn’t see the point of? Let me know in the comments, lovely! In This Episode What happens when you say yes to your purpose in life [9:00] How your womb is connected to your creative journey [12:00] How living your purpose improves every aspect of your life [17:30] Why you need to say yes to where your path leads you without understanding where you’re going [27:00] What spiritual sexual energy and spiritual sexiness is [33:30] How following your divine path will lead you exactly where you need to be, even if you can’t see how you’ll make money from that venture [38:00] Quotes “You don’t have to get run over to get on your spiritual path and get on your purpose. It’s really about listening to the little taps and the little whispers that the Universe is giving to you.” [6:40] “When you start to say yes, to honour who you really are, the truth of who you really are, your vibration changes. You’re on a different frequency. And you become a beacon of light so that other people that either need to work or need to connect with you can actually find you because your light is on now! It’s shining!” [9:25] “Not everything has to have a logical reason. Your only thing is to say yes.” [23:32] “Be outrageous because that’s what gets you out of your belief system and the programming that’s been running in your life. If you’re not having everything that you want in every area of your life, you know that that’s what’s running in the background. So you actually get to be all of you and get to be fully, fully self-expressed. It’s no longer about money and what it looks on the outside.” [29:58] “This is about setting the foundation. You say yes, you get your mind and your ego out of the way, which are really small, and you tap into the bigger potential of the Universe to show you the how. Your mind cannot show you the how. That’s what we’ve been debating our whole life. That’s why we play small. If you’re ready for a big leap - a quantum leap in your life or your business - you have to start playing the bigger game of creation.” [42:43] Resources Mentioned Join The Sacred Power Circle (https://thesacredpowercircle.com) Find Raquel Vassallo Online (http://www.raquelvasallo.com/) Follow Raquel Vassallo on Instagram (https://instagram.com/raquelvasallo) | Facebook (https://facebook.com/raquel.vasallo.3) | LinkedIn (https://www.linkedin.com/in/raquel-vasallo-b31a8b4) Join The Soul Savvy Collective Facebook Group (https://www.facebook.com/groups/soulsavvytribe) Find Sarah Flynn Online (https://sarahjflynn.com/) Follow Sarah Flynn on Instagram (https://www.instagram.com/sarahxflynn/) | Facebook (https://www.facebook.com/sarahflynncoaching) | YouTube (https://www.youtube.com/channel/UC1vmQ8rg-xfhHBLvqJ8qzcA) If you liked this episode, please check out some others: Episode 10: Embodying Your Multidimensional Truth with Ella Tsang (https://sarahjflynn.com/episode-10-embodying-your-multidimensional-truth-with-ella-tsang/) Episode 3: Claiming your Soul Purpose Freedom with Kim Mellor (https://sarahjflynn.com/episode-3-claiming-your-soul-purpose-freedom-with-kim-mellor/) Episode 4: Shifting into Self-Love with Gina Swire (https://sarahjflynn.com/episode-4-shifting-into-self-love-with-gina-swire/) Special Guest: Raquel Vasallo.

LinksDisney Villains After Hours Returns in 2020First Phase of Epcot’s New Entrance Area Now Open - WdwMagicChristmas Merchandise Now available at Disney SpringsDisney Locking up Fox Films in the VaultFree Fuelrod Swaps Ending November 1stClass Action Lawsuit - BLog MickeyNew Holiday Puppets Coming to Animal Kingdom Follow Us on Social MediaCTM Facebook Group: @capthemagicTwitter: @thedisdudesInstagram: @capthemagicVisit Us OnlineCatch up on all of the latest Disney World news! Visit CTMNetwork.news!Subscribe to our YouTube Channel!Capturethemagicpodcast.com – find the latest episodes!Capture The Magic Apparel – you can find a great Disney-inspired t-shirt collection!Join Club 32! Our private group with access to exclusive livestreams, podcasts, and MORE! Visit ctmvip.comOur SponsorsExpedition Roasters - visit expeditionroasters.com and use the promo code "CTM15" to save 15% off any order!

On today's Movie Talk, the team discusses Disney cryptically putting classic Fox films in The Vault and what this whole Marvel vs. auteur director controversy could really be about. Read Matt Goldberg's article about the Marvel/auteur director debate right here: https://collider.com/marvel-vs-directors-explained/ Collider Movie Talk host Perri Nemiroff welcomes Jeff Sneider and Marc Andreyko to discuss the day’s biggest topics in movie news! You can watch #ColliderMovieTalk live every Monday-Friday at 12pm ET / 9am PT. #Disney #MCU #OscarPredictions Follow Perri Nemiroff: https://twitter.com/PNemiroff Follow Jeff Sneider: https://twitter.com/TheInSneider Follow Marc Andreyko: https://twitter.com/MarcAndreyko Subscribe to Collider Videos ? ? https://bit.ly/2n1MZb7 Breaking Entertainment News ? ? http://collider.com Get Social! ? https://twitter.com/ColliderVideo ? https://instagram.com/ColliderVideo ? https://facebook.com/colliderdotcom More from Collider ? ? ??Collider Live: https://bit.ly/1qU5ENT ??Celebrity Interviews: https://bit.ly/2OyLjSU ??Video Games: https://bit.ly/2vszg0Z ??Sports: https://bit.ly/2Au5rmv ?????Pro Wrestling: https://bit.ly/2LKhWzy ??Podcasts: https://podcastone.com/network/Collider

Season 3 Episode 31: Get Your Geek On! - The Malice Corp Geek Enthusiasts and Nerd Aficionados talk about what they've been doing since last episode. What you should be checking out, and what you should stay far away from? -------------------------------------------------------------------------------------------------------------------------------------------------- Nerd News: - New York Times Magazine interview with Nic Cage. Getting a deeper look into how the Hollywood juggernaut looks at the world, and our reactions to his thoughts. - Netflix signs mega deal with David Benioff & D.B. Weiss. We give our thoughts on what this does for the streaming service, and whether or not they were a just lucky with Game of Thrones. - Norseman show creator plays with Netflix algorithm, and how to make the show one of the top series for the service. - Disney bulldozes through projects in development at Fox. Cancelling many films that were being worked out. We react to the biggest ones. - Disney+ backs up the remake bus. Remaking Night at the Museum, Diary of a Wimpy Kid, and Home Alone. The internet reacts, and so do we. -------------------------------------------------------------------------------------------------------------------------------------------------- Somebody's Gotta Talk About It!!! - Flatulence stops a parliament proceeding, and causes a big stink. -------------------------------------------------------------------------------------------------------------------------------------------------- Where to Follow on Social Media to Talk All Things Nerd!: - Website - http://malice-corp.com/ - Discord - https://discord.gg/F52YJuN - Main Twitter - https://twitter.com/MaliceCorp - Instagram - https://www.instagram.com/malice_corp - Facebook Group - https://www.facebook.com/groups/allthingsnerdpodcast - Cast Twitter - https://twitter.com/allnerdpodcast - Mest5150: https://twitter.com/Mest_Malicecorp - IC Zorro: https://twitter.com/ICZorro - Masonic Vader: https://twitter.com/MasonicVader - Super Whovian Freak: https://twitter.com/Superwhoviannut -------------------------------------------------------------------------------------------------------------------------------------------------- #NicCage #Netflix #DisneyPlus #AllThingsNerd #Podcast #Twitch #Geek #Nerd #Popculture #Comedy #Funny #NerdNews #GeekNews

CW: Brief mentions of rape, child abuse, and filicide It’s Zed-Word Week on Pod Sematary! Chris & Kelsey tackle two comedy zombie flicks (combies? zomedies?) with varying results! The Classic Film: The Return of the Living Dead (1985) “When two bumbling employees at a medical supply warehouse accidentally release a deadly gas into the air, the vapors cause the dead to rise again as zombies” (IMDb.com). If you ever thought Chris and Kelsey were broken on the inside, their opinions on this cult classic that’s seemingly beloved by everyone probably won’t help. The Modern Film: Shaun of the Dead (2004) “A man's uneventful life is disrupted by the zombie apocalypse.” (IMDb.com). Do you ever think about what the Edgar Wright Ant-Man would have been like? Chris does. Kind of a lot. Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1160383764960337920 Audio Sources: "Adventures in Babysitting" produced by Touchstone Pictures & Silver Screen Partners III "Battles" (Spaced S01E04) produced by London Weekend Television & Paramount Comedy Channel "Clue" produced by Paramount Pictures, et al "Coming to America" produced by Paramount Pictures & Eddie Murphy Productions "Don't Stop Me Now" written by Freddie Mercury and performed by Queen "Figment" written and composed by Simon Park "Ghost Town" written by Jerry Dammers and performed by The Specials "The Gonk" written and composed by Herbert Chappell "Jurassic Park" produced by Universal Pictures & Amblin Entertainment "Men in Black" produced by Columbia Pictures, et al. "Night of the Living Dead" produced by Image Ten "Overture" written by Andrew Lloyd Webber and performed by the Original London Phantom of the Opera Orchestra "Pet Sematary" written by Dee Dee Ramone & Daniel Rey and performed by The Ramones "The Return of the Living Dead" produced by Hemdale & Fox Films "Reservoir Dogs" produced by Dog Eat Dog Productions Inc. and Live Entertainment "Rules of Attraction" produced by Kingsgate Films & Roger Avary Filmproduktion GmbH "Shaun of the Dead" produced by Rogue Pictures, et al. "Star Wars: Episode I - The Phantom Menace" produced by Lucasfilm "Star Wars: Episode VII - The Force Awakens" produced by Lucasfilm, et al. "This is the End" produced by Columbia Pictures, et al.

Look, we've talked about the Avengers Endgame Blu-Ray a few times on the show, but it's out now, and Taylor's name is on the back. Go buy it. NOW! Anywho, this week the guys talk about some Blu-Ray reviews Taylor has been working on and Joel breaks down Marvel Comic's recent X-Men reboot.  Then for the main meat, we've got a review of  Amazon's The Boys for you AND a dissection of which movies Disney is keeping and which are getting canned in the Fox merger deal.  We also promised a link to the Reddit thread, and we remembered, so here it is: https://www.reddit.com/r/movies/comments/cnfixp/a_comprehensive_list_of_all_the_former_fox/

With an unceremonious end to Fox's line of X-Men and Fantastic Four films, Izzy, Chris, and Sabrina debate the merits on the studio's work in the past two decades. What else did we like, besides Logan and Deadpool? Which Fantastic Four version is worse? And how did Sabrina get so attached to the Elektra movie? Also, Bryan Singer and Brett Ratner are terrible people. Next Week: Dark Phoenix Hot Take (with guest Chris Walker) Follow AP Marvel on Patreon, Twitter, Medium, Discord, YouTube, Facebook, and Instagram Follow us on social media: Chris Compendio (@Compenderizer) Izzy Sio (@delirilyn) Anthony Paone (@thepizzataco) Sabrina Clarke (@sabsclarke) Theme Music: Steve Molitor Logo: Charles Villanueva (@cfsvillanueva) Email suggestions for topics or your own MCU viewing anecdotes to chris@apmarvel.com! --- Support this podcast: https://anchor.fm/ap-marvel/support

Acesse o Café com Filme para ver os trailers e ler as críticas :) A gente tarda, mas não falha (tá, às vezes falhamos) e é com carinho que trazemos mais um episódio incrível do Podcafé, com muito humor e comentários sobre os temas que ninguém pediu. No podcast de hoje, resolvemos falar um pouco sobre a ambição da Disney, também conhecida como dona do mundo. A empresa que já comprou a Marvel Studios (amada pelo incrível universo de heróis dos cinemas), a LucasArts (também conhecida como criadora de Star Wars e Indiana Jones) e agora a Fox Films parece não ter limites. Em breve, a dona do Mickey também vai lançar um serviço de streaming pra massacrar concorrer com a Netflix. Contudo, em meio a tantas aquisições, a gente fica se perguntando como a Disney vai tocar esse enorme grupo de personagens. Será que teremos um filme mesclando tudo num verdadeiro universo compartilhado (assim como existe na Pixar)? Ou ainda vamos ver as sagas separadas e poucas alterações com a chegada da Fox? Vale notar que apesar de inúmeros acertos, a Disney também tem sido muito comentada por alguns tropeços. Normal também, né? Com tantos projetos, algum acaba saindo com um gênio do Blue Man Group e alguns live-actions que simplesmente não têm humanos. Fato é que com tantos estúdios, essa gigante dos filmes vai acabar dominando as sessões por muitos fins de semana neste ano e também nos próximos. Será que veremos filmes incríveis ou alguns podem sair completamente fora do planejado? Apesar de tudo não passar de especulação, a gente resolveu falar dos próximos lançamentos e dessa ambição da companhia. Então, dá o play! Agora, conta para gente, você ama a Disney incondicionalmente? Ou tem medo do que pode vir por aí? Aproveita nossa área de comentários e dá sua opinião. Obrigado pela sintonia e até o próximo episódio.

Steven brings you the latest Movie, Music and Video Game News, and then Steven is joined by Paul from The Countdown PC as they countdown their Top 20 20th Century Fox Films of All Time.This Episode is brought to you by Connecticut Cult Classics, JPO Productions LLC, and Deadly Grounds Coffee.

Tweet  TONIGHT we are discussing 2017 TV SHOWS in reviewing the BEST and the WORST shows on NETFLIX, CW, FOX, HBO, CARTOON NETWORK & MORE!  We ALSO discuss the possible acquisition of FOX FILMS by DISNEY and what it means for the MCU  The post PartyNerdz – Episode 72 appeared first on Wildfire Radio.

Season 15 Episode 8 "The Coco Express" - On this episode we discuss the Avengers Infinity War trailer and it becoming the most watched trailer ever, Disney back in talks to buy Fox Films and TV, Olaf's Frozen Adventure controversy, Bohemian Rhapsody production suspended after Bryan Singer vanishes, Sabrina coming to Netflix, Another Harley Quinn movie in development, David Goyer may direct Masters of the Universe, The Rock talks Hobbs solo movie and Jungle Cruise, Jumanji getting great early reviews, Stranger Things gets a Season 3, I discuss the Crisis on Earth X crossover, Marvels Runaways, Future Man, AOS season 5, Punisher and so much more...Plus Reviews of "Coco" & "Murder on the Orient Express"

Josh returns from vacation to talk Cocos big weekend for Pixar the Incredibles enduring legacy DCs problematic future and the never ending saga of loot boxes and can it be considered gambling for gamers All this plus Rob McCallum returns in the Cosmic Crossfire talking potential suitors for Fox Films and rebooting the Fantastic Four plus Tyler Baker from the Fantasy Football Paydirt Podcast recaps week 12 in the NFL for fantasy football owners And as a BONUS we are adding an extra helping of the Cosmic Crossfire with Star Wars talk and more just for listening

LaF is previewing three films for episode 67. The August 7th weekend is jammed packed with action, comedy, and thrillers opening in wide release. First up, is Fantastic Four starring Miles Teller, Kate Mara, Michael B. Jordan, and Jamie Bell. Fox Films is trying to reboot this superhero series for the second time. This group of four youngsters must learn to use their newly gained powers to save Earth from Doctor Doom. Next actor Joel Edgerton tries out directing with The Gift, which he also wrote and stars in alongside Jason Bateman and Rebecca Hall. This thriller sees a young married couple's lives thrown upside down after the arrival of man from the husband's past. The secret he has held onto for the last 20 years has the power to ruin everyone's life. Lastly, is Ricki and the Flash starring Meryl Streep as a musician who gave up everything for rock and roll, but through a twist of fate she has to return home to make everything alright with her family. If you go the theaters this weekend, then LaF know about it. Send in your review by emailing the show at theLaFpodcast@gmail.com, tweeting us @theLaFpodcast, or sending a message on Facebook.com/theLaFpodcast. The best comments will get read on a future show.

Episode 158 of Trick or Treat Radio has an interesting double page spread featuring our review of the flick Felt and a super nerdy discussions about recent horror films and comic books. Our special guest this week is the prolific queen of pop culture podcasting, Wendi Freeman! Tune in to see, I mean hear from first timers and old friends in the feedback section of the show. Dynamo regales us with his encounter with the trashy trio of smartphone larceny and we get visited by an all too familiar daemon dragon who serenades us. All this plus a lively, packed chat room and a surprise podcaster run-in! So grab your sounding rod, your floppy britches and strap on! Topics discussed: The sordid history of Hank Pym, Joe's movie watching binges, N64 Goldeneye, Timothy Dalton, The Flash TV show, cinematic Aquaman, Thomas Jane, grizzly bear movie revival, Goodfellas, Frankenstein comics, what Steve Miller looks like, Ant-Man, dime store effects, VHS 2, The Strangers vs Them Ils, the fake balls, what found footage films feel obliged to do, Jitterbug, Pip the Troll, Francesco Francavilla, Bettie and Veronica, the etiquette of phone finding, the tone of the DC superhero films, Felt, sounding, Slumber Party Massacre, Alex de Campi, docking, Kentucker Audley, Bitch Planet, performance art, fetus hitler, The Thing, The Boxer’s Omen, superhero trailers, Film for Thought Podcast, Wolfie and Dynamo's adventure, 401 Stories, the Faith No More and Refused show, Wally West, Suicide Squad, Trashy Trio Podcast, Talk Without Rhythm, rape revenge films, Tom Normandy's Jaws 2 love, Superman vs Batman: Dawn of Justice, Archie vs Predator, John Siuntres, Afterlife with Archie, Dynamo's photography skillz, The Babadook, Felt Fiction, Ryan Gosling, Cub, gross internet sensations, Sabrina the Teenage Witch, how a batman movie should be done, dark and scary Tumblr, Jughead, Wet Hot American Summer, Rowdy Roddy Piper, GGTMC Summer of Sleaze, Mike Patton, the Buffalo Bill tuck dance, the Marvel hip hop covers, Fing Fang Foom, being a paperback snob, mythical Archie movie, Haunting TV, our fame at That's Entertainment, MonsterZero's porn ambitions, Ti West, Amplify Releasing, mumblecore, Beaver McD, Amy Everson, Mockingbird, High Tension, Marvel vs Dc Films vs Fox Films, the French new wave of extreme horror, The Battery, the Toad Road controversy, Starry Eyes, Bear week at P-Town, The Sacrament, Jared Leto Joker, Scott Speedman, Inside, the end Of 90's horror, Deep Blue Sea, man on a mission movies, Southern Bastards, Howling Commandos, the alleged cinematic origin of " It’s clobbering time", 2010, the leg contest, our favorite James Bond films, Dynamo's Mom's VHS collection, the lack of diversity in classic comics, Deadpool, The Man From U.N.C.L.E. Trailer, the upcoming Marvel Netflix shows, Guardians of the Galaxy, The Big Short, Hausu and Godfrey Ho.Support the show (https://www.patreon.com/trickortreatradio)

Drawing on 400 years of newspaper articles and photos, first person accounts, state historical records, and illustrated field reports, Richard J. Dewhurst reveals not only that North America was once ruled by an advanced race of giants but also that the Smithsonian has been actively suppressing the physical evidence for nearly 150 years. He shows how thousands of giant skeletons have been unearthed at Mound Builder sites across the continent, only to disappear from the historical record. He examines other concealed giant discoveries, such as the giant mummies found in Spirit Cave, Nevada, wrapped in fine textiles and dating to 8000 BCE; the hundreds of red-haired bog mummies found at sinkhole “cenotes” on the west coast of Florida and dating to 7500 BCE; and the ruins of the giants’ cities with populations in excess of 100,000 in Arizona, Oklahoma, Alabama, and Louisiana. Dewhurst shows how this suppression began shortly after the Civil War and transformed into an outright cover-up in 1879 when Major John Wesley Powell was appointed Smithsonian director, launching a strict pro-evolution, pro-Manifest Destiny agenda. He also reveals the 1920s’ discovery on Catalina Island of a megalithic burial complex with 6,000 years of continuous burials and over 4,000 skeletons, including a succession of kings and queens, some more than 9 feet tall--the evidence for which is hidden in the restricted-access evidence rooms at the Smithsonian.Richard J. Dewhurst is the Emmy Award-winning writer of the HBO feature documentary Dear America: Letters Home from Vietnam. A graduate of NYU with degrees in journalism, film, and television, he has written and edited for the History Channel, the Arts & Entertainment Channel, PBS, Fox Television and Fox Films, ABC News, TNT, Paramount Pictures, and the Miami Herald. He lives in Vermont.

In this episode Dan and Pam discuss the Oscar winning horror/drama/thrillers "SILENCE OF THE LAMBS", "JAWS" and a bit of "THE SIXTH SENSE". Interview - Dimenison and Fox Films screenwriter - Zak Olkewicz The Eyeland is written by Michael Giacchino The clip from Silence of the Lambs is property of ORION pictures.