Podcast appearances and mentions of Gale Anne Hurd

On the March 28 Friday LIVE, Genevieve Randall and guests have lively conversations about: a screening of "Tremors" at The Ross, featuring film producer Gale Anne Hurd: the new novel "The Antidote" by Pulitzer Prize for Fiction finalist and MacArthur Foundation Genius Grant recipient Karen Russell; "An Evening with Larry Gatlin" at the Merryman Performing Arts Center; Lincoln's Symphony Orchestra's "Star Wars: Return of the Maestro" at the Lied Center for Performing Arts; and Anastasis Theatre Company's production of "By a Thread." Also, poetry from Karla Hernandez Torrijos.

On the March 28 Friday LIVE, Genevieve Randall and guests have lively conversations about: a screening of "Tremors" at The Ross, featuring film producer Gale Anne Hurd: the new novel "The Antidote" by Pulitzer Prize for Fiction finalist and MacArthur Foundation Genius Grant recipient Karen Russell; "An Evening with Larry Gatlin" at the Merryman Performing Arts Center; Lincoln's Symphony Orchestra's "Star Wars: Return of the Maestro" at the Lied Center for Performing Arts; and Anastasis Theatre Company's production of "By a Thread." Also, poetry from Karla Hernandez Torrijos.

Sean remarks on the release of the Oscars shortlists in below-the-line categories, international features, and documentary features, before discussing his five most underseen movies of 2024 (1:00). Then, he's joined by a rotating cast of Ringer colleagues to discuss each of their favorite underseen movies of the year (40:00). Finally, he's joined by James Cameron and Gale Anne Hurd to discuss the 40th anniversary of ‘Terminator' (1:59:00). Among other things, the three talk about the challenge of getting it made before their careers had really taken off, the filmmaking style, shooting on location in L.A., and the prescience of the story. Host: Sean Fennessey Guests: Chris Ryan, Mallory Rubin, Charles Holmes, Yasi Salek, Joanna Robinson, Rob Mahoney, Amanda Dobbins, James Cameron, and Gale Anne Hurd Senior Producer: Bobby Wagner Video Producer: Jack Sanders Learn more about your ad choices. Visit podcastchoices.com/adchoices

Couch Potato Theater: The Terminator (1984) Watch the video version of this Couch Potato Theater episode on the Fandom Podcast Network YouTube Channel: https://www.youtube.com/@FandomPodcastNetwork Welcome to Couch Potato Theater, where we celebrate our favorite movies on the Fandom Podcast Network! On this episode we celebrate the 40th Anniversary of Arnold Schwarzenegger's 80's action masterpiece, The Terminator (1984). The Terminator is directed by James Cameron, written by Cameron and Gale Anne Hurd and produced by Gale Anne Hurd. It stars Arnold Schwarzenegger as the Terminator, a cybernetic assassin sent back in time from 2029 to 1984 to kill Sarah Connor (Linda Hamilton), whose unborn son will one day save mankind from extinction by Skynet, a hostile artificial intelligence in a post-apocalyptic future. Kyle Reese (Michael Biehn) is a soldier sent back in time to protect Sarah. Fandom Podcast Network Contact Information - - Fandom Podcast Network YouTube Channel:  https://www.youtube.com/c/FandomPodcastNetwork - Master feed for all FPNet Audio Podcasts: http://fpnet.podbean.com/ - Couch Potato Theater Audio Podcast Master Feed: https://fpnet.podbean.com/category/couch-potato-theater - Facebook: https://www.facebook.com/Fandompodcastnetwork - Email: fandompodcastnetwork@gmail.com - Instagram: https://www.instagram.com/fandompodcastnetwork/ - X: @fanpodnetwork / https://twitter.com/fanpodnetwork -Bluesky: @fanpodnetwork / https://bsky.app/profile/fanpodnetwork.bsky.social Host & Guest Contact Info: - Kyle Wagner on X: @AKyleW / Instagram & Threads: @Akylefandom / @akyleW on Discord / @Ksport16: Letterboxd / Blue Sky: @akylew - Kevin Reitzel on X / Instagram / Threads / Discord & Letterboxd: @spartan_phoenix / Bluesky: @spartanphoenix - Lacee Aderhold on X: @LaceePants / Instagram: @thelaceepants / Letterboxd: @Laceepants / Bluesky: @laceepants - Erin Reitzel Gill on Instagram: @eringill666 #CouchPotatoTheater #FandomPodcastNetwork #FPNet #FPN #TheTerminator  #TheTerminator1984 #TheTerminator4K #TheTerminatorMovie #IllBeBack #JamesCameron #ArnoldSchwarzenegger #CameronHurd #GaleAnneHurd #LindaHamilton #SarahConnor #MichaelBiehn #KyleReese #PaulWinfield #LanceHenriksen #EarlBoen #BillPaxton #BrianThompson #ActionMovie #90sActionMovies #KevinReitzel #ErinGill #KyleWagner #LaceeAderhold

Dan and Conrad find themselves exiled to a leafy island that looks suspiciously like Queensland in this episode, where they explore Martin Campbell's No Escape (1994) – an airy, outdoor adventure set in the distant future of 2022. It stars Ray Liotta as the scarred military vet convicted for shooting his CO after he covered up a war crime, who teams up with fellow inmates Lance Henriksen, Ernie Hudson and Kevin Dillon to defeat the evil Stuart Wilson's 'tribe' of sadistic killers and expose the greater evils of private prisons. Produced on a $20 million budget by Gale Anne Hurd, the movie got Campbell the gig directing GoldenEye (1995), but quickly vanished from theatres. But does it deserve early release from the oubliette to ease 90s prison movie overcrowding? Or should it be hurled back in with no chance of parole? Find out! Follow us on Tiktok, Facebook and Instagram. Support us on Patreon to nominate future films, vote on whether films should be released or thrown back, and access exclusive bonus content!

Developed by Mattson Tomlin, Terminator Zero is the science fiction action series set in the Terminator universe created by James Cameron and Gale Anne Hurd. Luke and [co-host] check out the eight-episode Netflix series which premiered in August 2024. A warrior from a post-apocalyptic future travels to 1997 to protect an AI scientist being hunted by an unfeeling — and indestructible — cyborg.

Welcome to Hell Fest!Hosts Elissa, Kay, and Ama are joined by horror writer Seth M. Sherwood to discuss 2018's Hell Fest and along the way, Seth chats about his journey in the film industry, the inspiration behind Hell Fest, expert writing tips and the art of crafting spine-chilling horror. Now get ready to hum your best rendition of Pop Goes the Weasel and let's get into it! Subscribe to our YouTube channel for more content! Support us on Patreon where you will find uncut episodes, bonus content, and more!Follow us on socials:InstagramTikTokLetterboxd Pillow Fright theme by Brandon Scullion

The thing that won't die, in the nightmare that won't end. Directed by James Cameron, and written by Cameron and Gale Anne Hurd, The Terminator is the science fiction action film starring Arnold Schwarzenegger. Luke Jae are sent back in time to 1984 to kill... (we mean review) the original, the epic, futuristic blockbuster and celebrate its 40th anniversary. Disguised as a human, a cyborg assassin known as a Terminator (Arnold Schwarzenegger) travels from 2029 to 1984 to kill Sarah Connor (Linda Hamilton). Sent to protect Sarah is Kyle Reese (Michael Biehn), who divulges the coming of Skynet, an artificial intelligence system that will spark a nuclear holocaust. Sarah is targeted because Skynet knows that her unborn son will lead the fight against them. With the virtually unstoppable Terminator in hot pursuit, she and Kyle attempt to escape.

Todd Ault interviews Gale Anne Hurd, an American film and television producer and the mastermind behind Valhalla Entertainment, a powerhouse Hollywood company that produced tentpole blockbuster movies such as The Terminator, Aliens, The Abyss, Armageddon, Terminator 2: Judgment Day, and the global TV phenomenon, The Walking Dead. Tune in to gain invaluable insight from a veteran producer who started her career as an executive assistant to independent film pioneer, Roger Corman. Listen to the fascinating stories of how the 1986 classic movie, The Terminator was produced, the lessons she learned along the way, and how Artificial Intelligence is revolutionizing the film industry. This is a must-watch episode for all cinephiles. "Jim [Cameron] and I named the nightclub in The Terminator "Tech Noir" because we felt that it was important for audiences to be aware that there can be a dark side to tech innovation." - Gale Anne Hurd

Denis Shepherd, a Los Angeles-based actor and filmmaker hailing from Chatsworth, California, has been making waves both in front of and behind the camera. His recent starring role in the independent feature film "The Compatriots" and his recurring role on Paramount's "Paradise Lost" have solidified his reputation as a versatile actor with a captivating on-screen presence.In addition to his work on the big screen, Denis has been featured and worked alongside major brands such as Disney, Nike, Google, Microsoft, Skechers, American Airlines, Southwest Airlines, Panera, Nissan, and Bud Light. His ability to connect with audiences and showcase his range has made him a sought-after talent in the industry.A graduate of the University of Arizona's Film & Television Producing program, Denis has also made significant strides behind the camera. He has written and produced award-winning short films, demonstrating his passion for storytelling and collaboration.Throughout his career, Denis has had the opportunity to collaborate with industry giants such as Gale Anne Hurd, Dave Myers, and John Lee Hancock, further establishing himself as a rising talent in both acting and producing. With his dedication to his craft and commitment to excellence, Denis continues to make strides in the entertainment industry, leaving a lasting impression on audiences and peers alike.Connect with Denis:➡️ Instagram: @dendshepAbout The Lot1 Podcast ✨The Lot1 Podcast is designed for anyone who is interested in or working in filmmaking. Whether you're just starting out or a seasoned veteran, we hope you gain the knowledge you need to improve your craft, achieve your filmmaking goals, or simply get an understanding and appreciation for the roles and duties of your peers and colleagues.✅ Become a VIP subscriber to get early access to our episodes, exclusive access to The Lot1 Podcast After Show, and much more!www.patreon.com/thelot1podcast☕Tourist Hat Coffee Companyhttps://touristhatcoffeecompany.com/

The Terminator 1984 is an absolute all out sci-fi action classic. The brainchild of director James Cameron and producer Gale Anne Hurd it introduced the world to the titular Terminator as played by then rising star Arnold Schwarzenegger, Linda Hamilton's Sarah Connor the mother of future savior John Connor along with Michael Biehn as Kyle Reece a soldier sent back through time to protect Sarah. Essentially an extremely well executed slasher movie it holds up extremely well some four decades later and kicked off a franchise that like the Terminator itself refuses to die. Thanks for watching our Caravan Of Garbage reviewSUBSCRIBE HERE ►► http://goo.gl/pQ39jNHelp support the show and get early episodes ► https://bigsandwich.co/Patreon ► https://patreon.com/mrsundaymoviesJames' Twitter ► http://twitter.com/mrsundaymoviesMaso's Twitter ► http://twitter.com/wikipediabrownPatreon ► https://patreon.com/mrsundaymoviesT-Shirts/Merch ► https://www.teepublic.com/stores/mr-sunday-movies The Weekly Planet iTunes ► https://itunes.apple.com/us/podcast/the-weekly-planet/id718158767?mt=2&ign-mpt=uo%3D4 The Weekly Planet Direct Download ► https://play.acast.com/s/theweeklyplanetAmazon Affiliate Link ► https://amzn.to/2nc12P4 Hosted on Acast. See acast.com/privacy for more information.

In our latest episode of Born to Watch, we're time-travelling back to 1984 to revisit one of the most iconic sci-fi films ever made, The Terminator. Directed by James Cameron and starring Arnold Schwarzenegger in a career-defining role, this movie didn't just redefine the sci-fi genre; it became a cultural touchstone that continues to influence films, TV shows, and video games to this day. If you're a fan of action-packed storytelling, cutting-edge special effects (for its time), and an unstoppable villain, then The Terminator (1984) is a must-watch. And if you've seen it before, it's worth revisiting with us as we break down what makes this film a timeless classic.The Plot That Changed Sci-Fi ForeverAt its core, The Terminator (1984) is a story about survival and destiny. The film opens with a bleak vision of the future—Los Angeles in 2029, a post-apocalyptic wasteland where machines rule over the remnants of humanity. The machines, controlled by the artificial intelligence Skynet, have nearly wiped out the human race. But humanity has a saviour in John Connor, the leader of the human resistance.To prevent their defeat, Skynet sends a cyborg assassin, the Terminator (Schwarzenegger), back in time to 1984. Its mission is simple: kill Sarah Connor (Linda Hamilton), John's mother, before he is even born. The resistance counters by sending one of their own, Kyle Reese (Michael Biehn), to protect her. What follows is a relentless cat-and-mouse chase that blends sci-fi elements with horror and action, creating a cinematic experience unlike anything audiences have seen before.Arnold Schwarzenegger as the Unstoppable ForceArnold Schwarzenegger's portrayal of the Terminator is one of the film's most memorable aspects. The role of the cold, emotionless cyborg was tailor-made for Schwarzenegger, whose imposing physicality and minimal dialogue were used to maximum effect. The Terminator is a machine on a mission, and Schwarzenegger's portrayal captures the relentless nature of this killer robot perfectly. His performance is chillingly efficient, and his limited lines, including the now-legendary "I'll be back," add to the character's menacing presence.It's hard to imagine anyone else in the role, but Schwarzenegger was not initially considered for the part of the Terminator. He was initially approached to play Kyle Reese. However, after reading the script, Schwarzenegger was more interested in the role of the Terminator, and the rest is history. His performance not only made him a star but also turned the Terminator into one of the most iconic villains in film history.Linda Hamilton as the Reluctant HeroWhile Schwarzenegger's Terminator is the film's most recognisable figure, Linda Hamilton's Sarah Connor is its heart and soul. When we first meet Sarah, she's just an ordinary woman living in Los Angeles, working as a waitress, and struggling with the challenges of everyday life. However, as the story unfolds, she evolves from a vulnerable target into a determined survivor who will stop at nothing to protect her unborn son. Hamilton's performance is a masterclass in character development. She portrays Sarah's transformation with such authenticity that it's impossible not to root for her. Sarah's journey from a damsel in distress to a warrior is not only crucial to the plot but also lays the groundwork for her role in the sequel, Terminator 2: Judgment Day, where she fully embraces her destiny as the mother of the future saviour of humanity.James Cameron's Visionary DirectionJames Cameron, who co-wrote the screenplay with Gale Anne Hurd, brought a unique vision to The Terminator (1984). Cameron's background in special effects is evident throughout the film, especially in how he blends practical effects with early CGI to create a believable future where machines dominate the world. The film's budget was relatively modest, but Cameron's innovative techniques made every dollar count. From the practical effects used to depict the Terminator's robotic skeleton to the eerie, futuristic landscapes of the post-apocalyptic world, the film's visuals are both gritty and captivating. Cameron also excels at pacing. The film moves at a breakneck speed, never giving the audience much time to breathe. This relentless pace mirrors the Terminator's unyielding pursuit of Sarah Connor, creating a tension that doesn't let up until the film's final moments. The narrative structure, which blends elements of a chase movie with those of a horror film, keeps the audience on edge, unsure of what will happen next.Cultural and Historical ImpactThe Terminator (1984) is more than just a sci-fi action film; it's a cultural phenomenon that has left an indelible mark on popular culture. The movie's success spawned a franchise with multiple sequels, a TV series, comic books, and video games. The character of the Terminator has become a symbol of an unstoppable force, and the film's themes of technology gone awry and the potential dangers of artificial intelligence resonate even more today than they did in the 1980s. The film also launched the careers of its key players. James Cameron would go on to direct some of the biggest blockbusters in history, including Aliens, Titanic, and Avatar. Linda Hamilton's portrayal of Sarah Connor made her a feminist icon, particularly with her return in Terminator 2: Judgment Day, where she embodies the hardened, battle-ready warrior that Sarah becomes. And, of course, Arnold Schwarzenegger's career skyrocketed, leading to him becoming one of the biggest action stars of the 80s and 90s.Special Effects and SoundtrackDespite being released in 1984, The Terminator still holds up remarkably well, particularly in its special effects. The practical effects used to depict the Terminator's mechanical endoskeleton, especially in the climactic scenes, are impressive even by today's standards. The film's use of stop-motion animation, while somewhat dated, adds to the movie's unique charm and serves as a reminder of the creativity and ingenuity that filmmakers had to employ before the advent of modern CGI. The film's soundtrack, composed by Brad Fiedel, is another standout element. The iconic synthesiser score perfectly complements the film's tone, blending a sense of urgency with a feeling of dread. The central theme, with its pounding beats and mechanical rhythms, has become synonymous with the franchise and remains one of the most recognisable pieces of movie music.Legacy and InfluenceThe Terminator (1984) has influenced countless films and TV shows. Its depiction of time travel, artificial intelligence, and the concept of a predestined future has been explored in various ways in pop culture. Films like The Matrix, Looper, and even the X-Men series owe a debt to The Terminator for paving the way with its innovative storytelling and groundbreaking special effects.Moreover, the film's impact on the sci-fi genre cannot be overstated. It helped shift sci-fi away from the often-optimistic portrayals of the future seen in earlier decades and towards a darker, more dystopian vision. This shift opened the door for a new wave of sci-fi films that explored the potential dangers of technology, a theme that remains relevant in today's tech-driven world.ConclusionIn our Born to Watch podcast, we celebrate The Terminator (1984) not just as a thrilling action movie but as a landmark film that changed the course of cinema. Its ...

Episode 400! Crikey. And I'm thrilled to say that producer Gale Anne Hurd is helping with the celebrations, thanks to a huge chat about her life, her work, and The Terminator at 40. The first part of the episode, Simon goes through the story of The Terminator, and quite how its rights ended up so muddled going forward. But the bulk of episode 400 is over to Gale Anne Hurd, in a long conversation - set against noisy background sounds! - that took place in London in June 2024. Thanks for all your support everyone. Hope you enjoy the episode... Learn more about your ad choices. Visit megaphone.fm/adchoices

Friend of the podcast Morgan Gire returns triumphantly to talk James Cameron movies on the latest episode of Jagbags! We talk the Terminator movies, the Avatar movies, and spend a LOT of time on "The Abyss". We also talk a good deal of "Aliens", and of course "Titanic". We discuss why Cameron's movies were so wildly successful, talk about our favorite movies of his, discuss his treatment of female characters, his many marriages (Kathryn Bigelow, Linda Hamilton, Gale Anne Hurd) and explore why he was considered for a time "the scariest man in Hollywood". Oh -- and a TON of Michael Biehn. It's another great Jagbags n' Morgan! TUNE IN!

Alec Gillis grew up in Orange County, California within sight of the Disneyland fireworks show. As a kid he roamed the mean streets of Main Street Disneyland, It was here he gained a lifelong appreciation of animatronics, but it was in the local movie theatres that he fell in love with genre films. At age 20 Gillis began working for Roger Corman on a film called BATTLE BEYOND THE STARS, along with James Cameron and Gale Anne Hurd. After working for various Makeup Effects luminaries such as Tom Savini and Greg Cannom,  Gillis was recommended by James Cameron to Stan Winston, where Gillis worked on effects for classic films such as ALIENS and PREDATOR. In 1988 he co-founded Amalgamated Dynamics, Inc. (ADI) with Tom Woodruff, Jr. TREMORS was the company's first feature, and the film's giant subterranean worms gained Gillis notoriety. The duo's work garnered Oscar nominations for STARSHIP TROOPERS, ALIEN 3 and won for DEATH BECOMES HER. Gillis has won numerous other awards such as BAFTAs and SATURNs.  His work has been seen in BRIGHT, IT 1 and 2, and currently the Disney/Fox Predator feature PREY, directed by Dan Trachtenberg. During his 3 decades with ADI, Gillis has also written numerous screenplays, written 3 books and produced/directed a feature film, HARBINGER DOWN. His new solo company, Studio Gillis, will continue the tradition Gillis is known for of high-quality Creature, Make Up and Practical Effects. In this episode we discuss: Alec's unique way of ending up entering in the industry How his passion for scary movies and monsters as a child became a dream job Coming up with James Cameron and a fun full circle moment The ins and outs of how they make monsters and creatures from start to finish How technology has contributed and changed his job throughout the years He talks about his foray into directing and acting His favorite monster and experience Alec discusses how his whole family has become an industry family (despite his best efforts :)) Make sure to watch out on Tipsy Casting's instagram for a behind the scenes video look into Alec's shop and some of the amazing creatures he's created! Resources: ⁠⁠⁠⁠⁠⁠Alec's Instagram Alec's Twitter/X ⁠Alec's IMBD ─────────────────────────── ⁠⁠⁠⁠⁠⁠⁠⁠⁠Stay Tuned with Tipsy Casting on IG⁠⁠⁠⁠⁠⁠⁠⁠⁠ Watch the ⁠⁠⁠⁠⁠⁠⁠⁠⁠Tipsy Casting YouTube Channel⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jessica ⁠⁠⁠⁠⁠⁠⁠⁠⁠ & ⁠⁠⁠⁠⁠⁠⁠⁠⁠Follow Jenn ⁠⁠⁠⁠⁠⁠⁠⁠⁠ Learn More About ⁠⁠⁠⁠⁠⁠⁠⁠⁠Jess ⁠⁠⁠⁠⁠⁠⁠⁠⁠& ⁠⁠⁠⁠⁠⁠⁠⁠⁠Jenn's⁠⁠⁠⁠⁠⁠⁠⁠⁠ Casting Journeys  ⁠⁠⁠⁠⁠⁠⁠⁠⁠Get Casting Life Away Merch here!⁠ --- Send in a voice message: https://podcasters.spotify.com/pod/show/tipsycastingpodcast/message

This week's episode compares The Terminator (1984) and Looper (2012) - two films about men protecting women named Sara(h) from a time traveling assassin bent on preventing her son from growing up and changing the world in the future---------The Movies:The Terminator (1984)Directed by James CameronWritten by James Cameron, Gale Anne Hurd & William WisheriMDb Rating: 8.1Looper (2012)Directed by Rian JohnsonWritten by Rian JohnsoniMDB Rating: 7.4-----Find us on:Discord - https://discord.gg/dxgmcfj552Tumblr - @ItTakesTwoPodInstagram - @ItTakesTwo_podFacebook - @ItTakesTwoPodYoutube - @ittakestwonzOur website - ItTakesTwo.co.nz-----Content Warning:Discussions of violence, death, gore, child deaths, drug use, guns, suicide

OnTime Capsule Episode 401,  Sonequa Martin Green, as she revisits her evolution as the resilient Captain Burnham in "Star Trek: Discovery," facing the emotional challenges of playing an older version of her character due to a narrative twist involving a "time bug."  Doug Jones adds dimension with his reflections on playing Saru and the complexities of portraying familial relationships amidst the backdrop of rebuilding the Federation. I then pay tribute to Herbert Wright, fondly remembered as the father of the Ferengi, reminiscing about the visionary Gene Roddenberry's influence on "Star Trek: The Next Generation." Our conversation then shifts as we engage with Radha Mitchell, discussing her role in the film "Sacrifice," and exploring how her character's journey through mystery and emotional rawness drew her into the project.  Richard Harmon brings us tales from "The 100" Season 4, delving into Murphy's uncertain path and the character dynamics that keep the narrative unpredictable and his own survival surprising yet believable. Lastly, "The Walking Dead" stalwarts Greg Nicotero, Gale Anne Hurd, and Angela Kang gather to discuss the series' lasting impact, its exploration of hope amid apocalypse.  Subscribe To Sci-Fi Talk Plus For A Free Lifetime Access Only Until May 1st

In this episode of Sci-Fi Talk , I dive into an eclectic mix of interviews from the depths of science fiction and beyond. We start off with a deep dive into the Apple TV+ series "Constellation" as we hear from writer and creator Peter Harkness and director Michelle McLaren, as they share their insight into creating a story that intertwines human experience, family relationships, and intriguing narrative elements. Then, we travel back to 2016 at San Diego Comic Con for an exclusive chat with Amanda Schull, discussing her role in "12 Monkeys" and the challenges and excitement of playing multiple versions of her character. Next, our focus turns to the zombie apocalypse as we catch up with the luminaries behind "The Walking Dead," including Angela Kang, Gale Anne Hurd, and Greg Nicotero. They delve into the show's impactful cultural legacy, the evolution of horror in television, and the ongoing commitment to diverse and compelling storytelling. Subscribe to Sci-Fi Talk Plus Free For A Limited Time

Cast a Deadly Spell (1991) is a horror fantasy detective television film with Fred Ward, Julianne Moore, David Warner, and Clancy Brown. It was directed by Martin Campbell, produced by Gale Anne Hurd, and written by Joseph Dougherty. The original music score was composed by Curt Sobel. Cast a Deadly Spell combines two genres – eldritch tales of H. P. Lovecraft's Cthulhu Mythos, and film noir mysteries. A sequel entitled Witch Hunt was released in 1994, with Dennis Hopper playing Ward's character. FRUMESS is POWERED by ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.riotstickers.com/frumess⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ GET 1000 STICKERS FOR $79  RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/Frumess ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Two legends join the podcast this week to discuss why the AMPTP should go by a different name. Theme Song: “Not Your Fool” written and performed by Alexa Villa; courtesy of Sign From The Universe Entertainment, LLC Learn more about your ad choices. Visit megaphone.fm/adchoices

In the captivating documentary, The YouTube Effect, acclaimed director Alex Winter delves into the enigmatic realm of YouTube and its parent company, Google. Having premiered at the prestigious Tribeca Festival in June 2022, the film offers an insightful and timely exploration of the influential platform. In my conversation with Alex Winter, we delve into his directorial vision and what attracts him to tech-related projects, focusing specifically on his latest venture, The YouTube Effect. Join us as we unravel the secrets and impact of this digital phenomenon.   My guest, Alex Winter, and I discuss: Alex Winter discusses his voice as a director and what draws him to tech-related projects Alex's new documentary, The YouTube Effect   One of the producer's of The YouTube Effect is Valhalla Entertainment. Gale Anne Hurd of Valhalla (guested on episode 244: listen here) introduces the documentary in this episode (pulled from ep 244)   The YouTube Effect, the documentary by Alex Winter had its world premiere at the Tribeca Festival on June 11, 2022, in the Spotlight Documentary section. The film takes viewers on a timely and gripping journey inside the cloistered world of YouTube and parent Google.   You're going to love my conversation with Alex Winter The YouTube Effect Alex's website Alex's Instagram Alex's Facebook   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show  

Larry Mantle and LAist film critics Amy Nicholson and Andy Klein review this weekend's new movie releases in theaters, streaming, and on demand platforms.   FilmWeek: ‘Mission: Impossible–Dead Reckoning Part One,' ‘Joy Ride,' ‘The Lesson' And More (0:15) “Mission: Impossible–Dead Reckoning Part One” In Select Theaters July 10; Expands to Wide Release July 12 “Biosphere” Alamo Drafthouse Cinema [DTLA] & Landmark Nuart Theatre [West LA] “Joy Ride” Wide Release “The Lesson” In Select Theaters “Amanda” Laemmle Royal [West LA]; Expands to Laemmle Town Center [Encino], Laemmle Glendale & Laemmle Claremont July 14 “The Out-Laws” Streaming on Netflix “The YouTube Effect” Alamo Drafthouse Cinema [DTLA] “Once Upon A Time In Uganda” Alamo Drafthouse Cinema [DTLA]; Expanding to Select Theaters July 14 “The Passengers Of The Night” Laemmle Monica Film Center [Santa Monica] “Contempt” Laemmle Royal[West LA]     Larry Mantle Interviews Gale Anne Hurd And Alex Winter Of ‘The YouTube Effect' (31:48) Social media's effects on our daily lives is constantly being examined as the technology and pervasive nature of these platforms evolves more quickly than we can process. In the new documentary ‘The YouTube Effect,' director Alex Winter goes in-depth on the history and influence of one of the largest video sharing platforms in the world, YouTube. Larry Mantle sits down with the documentary's director, Alex Winter, and its producer, Gale Anne Hurd, to discuss the making of the film and YouTube's legacy as a platform.  

Social media's effects on our daily lives is constantly being examined as the technology and pervasive nature of these platforms evolves more quickly than we can process. In the new documentary ‘The YouTube Effect,' director Alex Winter goes in-depth on the history and influence of one of the largest video sharing platforms in the world, YouTube. Larry Mantle sits down with the documentary's director, Alex Winter, and its producer, Gale Anne Hurd, to discuss the making of the film and YouTube's legacy as a platform.  

Embark on an incredible journey through the illustrious career of producer Gale Anne Hurd, from Stanford to Hollywood's cinematic universe. Get ready for captivating behind-the-scenes tales of legendary films like Terminator and Aliens, along with her groundbreaking contributions to the Marvel franchise. Join us in celebrating the remarkable legacy of Gale Anne Hurd, a trailblazer, and visionary in the world of entertainment.   My guest, Gale Anne Hurd, and I discuss: Discover Gale Anne Hurd's incredible journey, from Stanford to New World Pictures and Valhalla Entertainment Uncover fascinating behind-the-scenes tales of the iconic Terminator and Aliens films, as shared by Gale Anne Hurd Dive into the extraordinary experiences of working with Roger Corman and his lasting legacy Explore the unique bond between Gale Anne Hurd and James Cameron, forged during their time at Roger Corman's studio, and their remarkable collaborations on Terminator and Aliens Unveil Gale Anne Hurd's unwavering passion for Marvel characters and her instrumental role in bringing The Hulk to life in The Hulk and The Incredible Hulk Gain insights into Gale Anne Hurd's early struggles with gender inequality in Hollywood Delve into the captivating story of how Gale Anne Hurd brought The Walking Dead to life alongside Frank Darabont and what it meant to her and the cast when Frank left the show Experience the remarkable camaraderie among The Walking Dead cast, their unwavering dedication to fans, and the #TWDFamily community Examine the intersection of AI and its relevance to the prophetic visions depicted in Terminator and 2001: A Space Odyssey Explore Gale Anne Hurd's extensive body of work in documentary filmmaking, including The Youtube Effect, Mankiller, True Whispers, and Choctaw Code Talkers Discover the making of the comedy film Dick, starring Kirsten Dunst, Michelle Williams, Will Ferrell, and an ensemble of brilliant comedy stars and directed by Andrew Fleming And Much More   You're going to love my conversation with Gale Anne Hurd Gale's IMDB Gale Anne Hurd on Twitter Valhalla Entertainment on Twitter YouTube Effect   Follow Jeff Dwoskin (host): Jeff Dwoskin on Twitter The Jeff Dwoskin Show podcast on Twitter Podcast website Podcast on Instagram Join my mailing list Buy me a coffee (support the show) Subscribe to my Youtube channel (watch Crossing the Streams!) Yes, the show used to be called Live from Detroit: The Jeff Dwoskin Show    

Gale Anne Hurd is trailblazer in the film and tv industry. Aliens, Terminator, and The Walking Dead are just a few of the iconic titles Gale has under her Producer belt. We chat about her career, the horror genre, Guns N' Roses, what's next and more!Video/picture version of the podcast can be found here - https://youtu.be/k3C-M0uXkPIMore info: @valhallapics and @gunnergale#galeannehurd #terminator #thewalkingdeadPics via Getty Images.Opening Theme music by Sister Midnight/S.Darrow 'Sabba' from the 1972 'All the colors of the Dark' soundtrack Composer-Bruno Nicolai Published By – Edizioni Musicali Gemelli-1972Closing music by Sister Midnight/S.Darrow 'Shiver of the Vampire' from the 1971 'Les Frissons des Vampires/Shiver of the Vampires' Soundtrack Composition by D. Buffet/Jean Rollin/G. Sallettehttps://linktr.ee/Sister_Midnight

On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   We're finally here.    Episode 100.   In the word of the immortal Owen Wilson, wow.   But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later.   But, as always, a little backstory.   As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next.   Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about.   Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went.   Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie.    There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing.   But as I was watching it, two things hit me.   One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours.   Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss.   And there it was.   The topic for our 100th episode.   The Abyss.   And, as always, before we get to the movie itself, some more background.   James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects.   Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary.   If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later.   In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind.   Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android.    Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future.   The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films.   The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him.   Sound familiar?   We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films.   That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade.   After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project.   The Abyss.   Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab.    Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade.   While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film.   Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history.   After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s.   In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot.   I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time.   Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity.   Right?   Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss.   Okay. Back to The Abyss.   Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous.   For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career.   More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production.    While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script.   Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying.   Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press.   After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust.   Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well.   But I digress.   While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence.   Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of.   We'll get back to that in a moment.   When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline.   We'll get back to that in a moment.   In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales.   By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much.   The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2.   Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut.   Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out.   The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales.   I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation.   I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies.   Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21.   There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies.   Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies.   In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.”   It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2.     My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long.   So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show.   We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other 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, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   We're finally here.    Episode 100.   In the word of the immortal Owen Wilson, wow.   But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later.   But, as always, a little backstory.   As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next.   Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about.   Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went.   Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie.    There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing.   But as I was watching it, two things hit me.   One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours.   Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss.   And there it was.   The topic for our 100th episode.   The Abyss.   And, as always, before we get to the movie itself, some more background.   James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects.   Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary.   If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later.   In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind.   Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android.    Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future.   The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films.   The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him.   Sound familiar?   We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films.   That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade.   After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project.   The Abyss.   Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab.    Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade.   While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film.   Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history.   After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s.   In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot.   I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time.   Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity.   Right?   Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss.   Okay. Back to The Abyss.   Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous.   For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career.   More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production.    While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script.   Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying.   Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press.   After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust.   Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well.   But I digress.   While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence.   Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of.   We'll get back to that in a moment.   When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline.   We'll get back to that in a moment.   In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales.   By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much.   The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2.   Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut.   Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out.   The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales.   I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation.   I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies.   Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21.   There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies.   Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies.   In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.”   It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2.     My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long.   So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show.   We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other 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.

October is upon us and we here at Cinema Degeneration thought it was time for another Appreciation Month topic!  We bring to you a celebration of 'Single Serving Slashers', slasher movies that never got a sequel.  There are plenty of chapters in the sagas of Chucky, Jason, and Freddy; however, we wanted to honor those often overlooked slashers that only graced the screen in one thrilling film.  For the 8th episode dedicated to these memorable slashers we drop our most recent flick with the 2018 "HELL FEST" from legendary producer Gale Anne Hurd.  Directed by Gregory Plotkin and starring the incomparable Tony Todd. This tale of a masked killer known only as The Other that terrorizes a group of youths at a horror themed amusement park where everyone else in attendance believes the shenanigans are all just a part of the show.  Join our hosts and married duo of the 'Creature Feature Dinner Theater' podcast Cameron Scott and Patty Scott as they take a deep dive into this recent gem that is fun getting into but hell getting out of!   "I've actually done laps around the seven deadly sins."

'Walking Dead' executive producer Gale Anne Hurd takes us behind the scenes of the highest-rated show in basic cable history to tell us about "zombie school," "death dinners," and the future of the franchise.

Tracy is Amasia Entertainment's Senior VP of Television. Currently, Amasia is in development at The CW with a sequel series to Dan Curtis' classic, "Dark Shadows," to be showrun by Emmy-winner Mark B. Perry. Additional shows in development include "Because the Night" based on the James Ellory book, "Wolfe"— A contemporary mystery thriller series inspired by a Patricia Highsmithian author, a Francis Perkins miniseries about the trailblazing woman known as FDR's conscience, and a sexy CIA actioner created by "Spygame" writer Michael Frost Beckner.A graduate of Pepperdine University, Tracy began her film in production before working as a personal assistant to actress, Jennifer Aniston. Tracy assisted Aniston in production during three seasons of "Friends," and several feature films. After working as a script analyst for producers Jennifer and Suzanne Todd at Team Todd, Tracy took a story editor position with producer Rob Fried at Fried Films; there she worked on projects including "The Boondock Saints," and HBO'S critical darling, "Winchell." Tracy next joined producer Dan Halsted at Halsted Pictures, who was then partnered with Oliver Stone, where she worked in development on TNT's "Witchblade" and films including "Any Given Sunday" and "The Art of War."Spending much of her childhood as a rabid fan of science fiction and horror films, Tracy was next hired by her childhood hero, Gale Anne Hurd, at her company, Valhalla Motion Pictures. She rose through the ranks to become Senior Vice President and Head of Development. At Valhalla Tracy was the executive in charge of production on the PBS award-winning documentary, "True Whispers: The Story of the Navajo Codetalkers" and helped develop Ang Lee's "Hulk," Marvel's "The Punisher," and Karyn Kusama's "Aeon Flux."After four years at Valhalla, she headed up development for Academy Award-winning actor Morgan Freeman's Revelations Entertainment, where she was involved in the development of films including "Invictus," directed by Clint Eastwood, and "10 Items or Less," directed by Brad Silberling. She was a producer on Richard Loncraine's film, "5 Flights Up," starring Diane Keaton, Morgan Freeman and Cynthia Nixon. Tracy also helped get Revelations into television when she sold "Through the Wormhole with Morgan Freeman" to Discovery Science Channel, where she served as Executive Producer on the Emmy-nominated series. She was also co-producer of the Peabody Award-winning “ESPN 30 For 30 Documentary, "The 16th Man," which won a special “Television with a Conscience” Emmy.Of all of her work at Revelations, she is most proud to have been instrumental in setting up, developing, and serving as an executive producer on the pilot of CBS' hit series, "Madam Secretary." Working with TV showrunner goddess Barbara Hall remains a career highlight. Tracy was a producer on 60 episodes of "Madam Secretary" before moving on from Revelations to launch Amasia's TV division.

Director James Cameron, producer Gale Anne Hurd and special effects artist Stan Winston

It was a fever dream while making Piranha II: The Spawning that gave James Cameron his idea for a terrifying metal endoskeleton crawling through flames. From that initial idea, he would write a draft, and with the help of Gale Anne Hurd, he would have a script that would sell to Orion, and funding from Hemdale Film Corporation. That script was called The Terminator. Made for a comparatively tiny $6.5 million, The Terminator would surpass all expectations, including that of Orion, and of its star Arnold Schwarzenegger, in a role that he'd admit in later life was his personal favourite character. With practical effects by Stan Winston Studio and Fantasy II, a tightly paced story and taking inspiration from slasher horror, The Terminator terminated the competition on its release in October 1984. It created a franchise, created a star and created a director. Come with me if you want to listen... I would love to hear your thoughts on The Terminator ! GET IN TOUCH.... Twitter https://twitter.com/verbaldiorama (@verbaldiorama) Instagram https://www.instagram.com/verbaldiorama (@verbaldiorama) Facebook https://www.facebook.com/verbaldiorama (@verbaldiorama) Letterboxd https://www.facebook.com/verbaldiorama (@verbaldiorama) Email verbaldiorama [at] gmail [dot] com Website https://my.captivate.fm/verbaldiorama.com (verbaldiorama.com) SUPPORT VERBAL DIORAMA.... Give this podcast a five-star https://verbaldiorama.com/rateandreview (Rate & Review) Join the https://verbaldiorama.com/patreon (Patreon) Thank you to all the patrons Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Scott, Brendan, Ian M, Lisa, Sam, Will, Jack, Dave, Chris, Stuart, Jason, Ian D, Sunni, Drew, Nicholas, Zo, and brand-new patrons Kev and Pete! BRAND-NEW https://verbaldiorama.com/merch (Merch) STORE!! T-shirts inspired by The Mummy (1999) with more collections to come! EPISODE THANKS TO.... Most excellent patrons: Andy for his patron thoughts. You can find him @geeksaladradio on Twitter and his podcast Geek Salad on all your podcast apps. Derek for his patron thoughts. You can find him @derekjones198 on Twitter and his podcast The Midnight Myth on all your podcast apps. Zo for his patron thoughts. You can find him @backlookcinema on Twitter and his podcast Back Look Cinema on all your podcast apps. and to Nicholas and Ian for your Patron thoughts too! Twitter peeps @HarrymetMovies @DirectorNeil @VincentAsher @DWLundberg @eilfmovies @NeededRoads @mrlondon_ncb @AtPedestrian @dissectthatfilm @AvatarPod @robopulp @forced2bsocial @ConnectionsCult @BenBerwickGB @TIaaDMedia @mcuonrepeat Instagram folk @lindahl_a Facebook chums None this time Theme Music: Verbal Diorama Theme Song Music by Chloe Enticott - https://www.facebook.com/watch/Compositionsbychloe/ (Compositions by Chloe ) Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique Studio https://www.captivate.fm/signup?ref=emmcgowan (This podcast is hosted by Captivate, try it yourself for free.) I'll be back!

First there was Alien (1979), and it was meet and good. From its cells sprang forth a new species. Ridley Scott and Sigourney Weaver created a character as intriguing and formidable as the alien foe encountered on LV426. James Cameron and Gale Anne Hurd saw the greatness in “Ripley” so much so that despite hemming and hawing of studio execs they were determined to center their epic Sci Fi/Action major motion picture on a woman as the hero. There is a truth in “Aliens” that supersedes all arguments in our current political retrograde. Women are strong, capable, intelligent, and brave. Women have proven themselves. Women are downright HEROES.

Podcast: EVERYTHING ZENVolume 2. Episode 8. July 2022.Length: 60 minutesTopic: Sleeping BeautyListen: Everything Zen - Vol. 2, Episode 8Description"Come with us if you want to live!" In Volume 2, Episode 8 of Everything Zen, we're balancing classic fairy tale lore with futuristic cyborgs and aliens. We'll explore the origin of Sleeping Beauty with Zenescope Publisher, Dave Franchini and legendary writer/producer GALE ANNE HURD joins us to talk about The Terminator, Aliens, and tons more! Plus, stick around for the Zenescope Calendar of Events and some incredible Fairy Tale prizes! Length: 60 Minutes.FeaturingHosts: Mark Sells, Ralph TedescoZenescope: Amber Curtis, Noah MitchellCreator spotlight: Dave Franchini (Sleeping Beauty)Featured Guest: Gale Anne Hurd (The Terminator)

I knew nothing about the animated and comic book world before I talked to Kevin Mellon. He is a fascinating man with a lot of experience in his expertise. Kevin is a graduate of the Joe Kubert School of Cartoon and Graphic Arts. He has been working in the comic industry since his first book, GEARHEAD debuted in 2007. Since then he has gone on to do various other projects including THIRTEEN STEPS and THE ATHEIST VOL. 2 with writer Phil Hester. In fall of 2008, GEARHEAD was optioned by Gale Anne Hurd and Vallhalla productions for adaptation into film. He is currently working on an Original Graphic Novel for AiT/PlanetLar with GEARHEAD co-creator/writer Dennis Hopeless as well as writing and drawing his solo creator-owned series for APE Entertainment called SUICIDE SISTERS. Kevin is currently a story board artist for the popular FX TV show Archer. For more information about where to buy his music and art go to: kevinmellon.com    

Roundtable session with executive producer Gale Anne Hurd, Steven Yeun and Danai Gurira from 2015 at San Diego Comic Con on season six.

More from SDCC at the start of season one with Elizabeth Rodriguez, Greg Nicotero, Gale Anne Hurd, Danay Garcia, Rubén Blades, Kim Dickens, and David Alpert.

One measly dollar doesn't buy very much - unless you happen to be producer Gale Anne Hurd when cutting a deal to let James Cameron direct a movie that would become the iconic "The Terminator," released on this day in 1984. Today's episode tells the rest of the story of our favorite murder robot. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written and hosted by Ryan Myers Music by Devin Curry

One measly dollar doesn't buy very much - unless you happen to be producer Gale Anne Hurd when cutting a deal to let James Cameron direct a movie that would become the iconic "The Terminator," released on this day in 1984. Today's episode tells the rest of the story of our favorite murder robot. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written and hosted by Ryan Myers Music by Devin Curry

It was working for Roger Corman that exposed Gale Anne Hurd to every aspect of filmmaking - an education that would make Hurd one of the most successful producers in the business. Today, Sci-Fi 5 celebrates the birthday of the woman behind some of your favorite genre films. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written and hosted by Ryan Myers Music by Devin Curry

It was working for Roger Corman that exposed Gale Anne Hurd to every aspect of filmmaking - an education that would make Hurd one of the most successful producers in the business. Today, Sci-Fi 5 celebrates the birthday of the woman behind some of your favorite genre films. Follow Sci-Fi 5 for your daily dose of science-fiction history. Written and hosted by Ryan Myers Music by Devin Curry

On todays episode of the Frame & Reference Podcast, Kenny talks with cinematographer John Brawley, ACS about LAKEWOOD staring Naomi Watts. In this episode, John goes into his journey to becoming a DP as well as shooting LAKEWOOD with the BlackMagic 12k. John built a reputation as one of Australia's most talented, innovative and collaborative Directors of Photography before relocating to the US where he's continued to build on that reputation, working nonstop on projects including Apple's critically acclaimed hit series THE MORNING SHOW starring Jennifer Aniston, Reese Witherspoon, and Steve Carell; the highly praised Elle Fanning and Nicholas Hoult led period dramedy THE GREAT for Hulu/MRC, and NBC's upcoming true-crime limited series THE THING ABOUT PAM starring Renée Zellweger. In 2017, John arrived in the US to shoot the USA drama series QUEEN OF THE SOUTH starring Alice Braga. Fox's first year medical drama THE RESIDENT immediately followed – he also shot Season 2 and made his directorial debut on the series. Other recent credits include the Fox pilot GONE BABY GONE for director Phillip Noyce; the Syfy/UCP series HUNTERS for producer Gale Anne Hurd and Matchbox Pictures; and THE BEAUTIFUL LIE, a contemporary retelling of ANNA KARENINA, starring Sarah Snook, for ABC Television (now on Hulu), which received considerable critical and audience acclaim and earned him an AACTA nomination for Best Cinematography in Television. John began his career shooting many of Australia's most beloved series including PUBERTY BLUES, where he used a ground breaking mix of cutting edge technology and period lenses to achieve the 70's era look; the first six seasons of the award winning dramedy OFFSPRING; the well-known UNDERBELLY series; political drama PARTY TRICKS; and THE WARRIORS for acclaimed Australian producer Robert Connolly, amongst many others. Other feature credits include 100 BLOODY ACRES starring Angus Sampson and Damon Herriman, cult favorite LAKE MUNGO and THE PERFECT HOST, starring David Hyde Pierce, which premiered at Sundance prior to its US release. John graduated with an MA from the prestigious Australian Film Television and Radio School and received his ACS (Australian Cinematographers Society) Accreditation earlier this year. He is a dual Australian/US citizen. His website is available here: https://johnbrawley.com/ Frame & Reference is supported by Filmtools and ProVideo Coalition. Filmtools is the West Coasts leading supplier of film equipment. From cameras and lights to grip and expendables, Filmtools has you covered for all your film gear needs. Check out Filmtools.com for more. ProVideo Coalition is a top news and reviews site focusing on all things production and post. Check out ProVideoCoalition.com for the latest news coming out of the industry. Check out ProVideoCoalition.com for more!

More from 2012 with Executive Producer Gale Anne Hurd and Norman Reedus who plays Daryl Dixon talk about the new season in roundtable interview recorded at New York Comic Con.

Interviews from New York Comic Con at the start of season one in 2010 with Frank Darabount and Robert Kirkman plus cast members Andrew Lincoln, Sara Wayne Callis, Jon Beranthal, Lorrie Holden,Norman Reedus, and Steven Yuen. Executive producer Gale Anne Hurd gave us her expectations on the series.

Come with me if you want to live. (Long awkward silence) Alright, come with me if you want to listen to our Terminator 2: Judgement Day 30th anniversary special. There we go! James Cameron's sci-fi action classic was a phenomenon upon release and the majority of it still holds up today. The Office Hours crew nerd out discussing Arnold, Sarah Conner, the T-1000, and a child actor precautionary tale. There is no time machine or nostalgia blinded by memories of our youth. It's just three film fans watching an old dvd talking about all nine of Cameron's ex-wives. Spoiler alert: Gale Anne Hurd is our favorite. It's T2 time. Dun dun dun dun dun.

Today, I am honored, humbled, and extremely excited because today we have the king himself, Roger Corman on the podcast.  Now, I am still in disbelief that I was able to even have this conversation because Mr. Corman is a man who needs no introduction. Dubbed as the 'King of the B's' by many, he has produced over 100 movies in the horror & exploitation genres and is still working to this day at the age of 93.  Roger Corman not only produced an extensive and fundamental body of work but he birthed some of the most notable names in hollywood. James Cameron, Gale Anne Hurd, Martin Scorsese, Jack Nicholson, Francis Ford Coppola, Robert Deniro, Ron Howard, Joe Dante and Jonathan Demme are a few of the many people who graduated from the Corman school of production and went on to be some of the brightest names in Hollywood. This was no accident, as being mentored by Roger Corman was a fast track to success. The unprecedented amounts of responsibility and autonomy that he gave to his directors and crew members, was a magic combination that empowered and educated many of Hollywood's biggest success stories. He demanded a lot from his people, but because of it, they learned more than they ever would have elsewhere while still being able to develop their individual artistic voices. We discussed why working for his company was able to skyrocket so many huge careers in Hollywood and we also got into Mr. Corman's leadership strategies for keeping morale high during  the harsh conditions that are common with low budget & indie filmmaking. AND we hear Roger Corman's keys to making effective horror. All of this and so much more on today's episode of The Nick Taylor Horror Show. Before we get started, here are some key takeaways for aspiring directors from this conversation with Roger Corman.    There is always a way.  Roger Corman is the original renegade filmmaker who blazed trails in independent cinema and did so entirely outside of the Hollywood establishment. Along the way, he relied on a combination of ingenuity, sheer will and a killer work ethic but his approach to production was guided by the idea that there is always a way to do anything. As such, Mr Corman never took no for an answer and would never accept hearing that something couldn't be done.   Having the mindset of ‘anything is possible' can actually drive your mind to find solutions. Since two of the most common terms in Hollywood are ‘no' and 'it's impossible,' filmmakers need an iron-clad ethic of possibility. Filmmaking is a game of overcoming odds, embracing challenges and breaking the rules sometimes. If you want to break new ground, you need to believe that it's possible.  A documentary that does a fantastic job of exploring this idea is King Cohen, the Larry Cohen documentary. Larry Cohen was another filmmaker who lived, in some cases quite dangerously, by this same credo.   Plan. Plan. Plan.  One of the recurring themes of Mr. Corman's advice to filmmakers is the importance of planning. Not just planning your production, and shot list, but planning for when things go wrong, planning for adverse weather, planning for any and every disaster that can occur on set. Mr Corman insists that directors plan everything to a T, but also, that they be flexible enough to abandon the plan at a moment's notice and improvise as needed. The sheer act of extensively planning every detail of your production will prime your mind for problem-solving, so that if something does go wrong on set, you'll be sharp enough to think on your feet and find a solution.   Be a director, not a dictator.  Throughout the course of his career, with breakneck schedules, impossible deadlines, and very grueling shoots where everyone had multiple jobs on set, Roger demanded a lot from his cast and crew but to this day, just about everyone who's ever worked for him idolizes him. Mr. Corman emphasized that the key to maintaining high morale and motivating your crew through challenging productions is to treat everybody as an equal. Producing and directing requires that you be a strong leader, but there's a fine line between leader and dictator, and the latter can lower morale and de-motivate your crew and ultimately harm your movie.  A key element of doing this effectively is being a good collaborator, which Mr. Corman was known for (Vincent Price talked about how he would integrate every single idea he had into the movies they worked on together).  Most creative people ultimately want to do good work and will naturally work extremely hard if they feel their efforts are purposeful and contribute to the movie. Allowing people to do their job, being open to their ideas, and staying out of their way can tap a wealth of motivation from your cast and crew that can pull your movie through the most impossible shooting scenarios.   Treat horror like sex.  A constant analogy that Mr. Corman makes when discussing horror is to treat it like sex, which is why he stresses the importance of starting slow, and consistently building tension to a climax. This is how good horror works, how good comedy works, and how good sex works. Remember this on set and in the bedroom. Don't fake a high budget - tailor your script to fit the budget. Roger Corman is called the King of the B's for a reason - he was always able to maximize production value on nearly every film he worked on in countlessly innovative ways which is why his movies always made money. It's common, particularly in horror, to see movies fight against their own budget with overblown stories, cheap sets & costumes, etc. This gives films a delusion of grandeur that can undermine its story and cause audiences take them less seriously. Instead, taking the opposite approach and tailoring the script and production around the budget is a major opportunity to showcase resourcefulness & storytelling ability (which are critical especially for your first film). Part of doing this is structuring the production around what you have immediate access to... In the case of Roger, he would frequently build a set for one movie, and then write a second movie that could be shot on the same set and kill two birds with one stone.   Make the best of every opportunity. Under Roger Corman, Jonathan Demme was making his directorial debut with Caged Heat, which was a women in prison movie. Despite the fact that the women in prison genre is not exactly known for it's depth or respectability, Demme guaranteed Mr. Corman that he would deliver the best women in prison movie ever made.  It's common for directors to get lazy and rest on the laurels of the blood, gore, nudity and thrills that come with genres like horror and exploitation. A lot of these movies leave out good storytelling and character development, and this is not only how bad movies get made, but it's how careers end. (Of course, there are many exceptions).  In the case of Jonathan Demme, he added unexpected layers of depth and social commentary to Caged Heat, the likes of which the genre had never seen before. As a result, Caged Heat remains one of the best reviewed and most highly-regarded women in prison movies ever made. But more importantly, his effort and ambition enabled him to prove himself in the eyes of Roger Corman who handed him over multiple other films to direct because of the level of quality and dignity that he brought to what was considered a gutter genre. Speaking of bringing dignity to gutter genres, Jonathan Demme later went on to direct Silence of the Lambs, one of the few horror movies ever to receive academy recognition.  I highly recommend Mr. Corman's autobiography, How I Made A Hundred Movies In Hollywood And Never Lost A Dime - it's only about $15 on Amazon and it is pure solid gold advice for filmmakers - and it's wildly entertaining and funny.  I also highly recommend checking out the conversation I had Joe Dante - Joe is a graduate of the Corman school and discusses a lot of lessons learned from his time working working with Mr. Corman - check it out.  If you enjoyed this episode, don't forget to subscribe on Apple Podcasts, Spotify, Google Play, or wherever you listen. Thanks again for listening to the Nick Taylor Horror Show.  ----- Produced by Simpler Media

Gale Anne Hurd is one of Hollywood's most successful producers, with films like The Terminator, Aliens, The Abyss and Armageddon under her belt. She tells Marc how her first job out of college, working as an assistant for Roger Corman, prepared her for a lifetime in the movies and how her collaboration with James Cameron helped her storm the gates of the studios. Gale also talks about shifting from feature films to producing documentaries, why most producers don't understand how film sets operate, and how she juggles her concurrent products, like the new movie Hell Fest, the new season of The Walking Dead, and the Amazon series Lore. This episode is sponsored by YouTube Music, SimpliSafe and Starbucks Doubleshot. See acast.com/privacy for privacy and opt-out information. Sign up here for WTF+ to get the full show archives and weekly bonus material! https://plus.acast.com/s/wtf-with-marc-maron-podcast.

WEB BONUS: Just in time for the Season 7 finale, we bring you a conversation about The Walking Dead, recorded at the annual gathering of the National Association of Television Program Executives. Michael Schneider sat down with Josh Sapan, the president and CEO of AMC; Gale Anne Hurd, the executive producer of The Walking Dead and Fear the Walking Dead; and Colman Domingo, the actor who plays Victor Strand on Fear the Walking Dead.

Quick Episode Summary: Intro :11 Promo 1: Winnipeg's Real Estate Podcast 1:44 On the Libsyn Blog 2:19 Promo 2: The Trivia Minute 4:10 How we feature you! 4:28 Audio Rockin' Libsyn Podcasts: The 5 Minute Mojo 6:31 The rumor 11:29 Promo 3: Wasting All The Time Improv Comedy Podcast 11:35 Rob & Elsie Conversation 12:08 Rob is done with the travels! And he's had some pretty serious gmail woes There has been a new cool Libsyn release that cleans up your individual episode code in the Libsyn dashboard Shout-out to Libsyn Podcast Lore, you're gonna have to listen to know why! And it has to do with TV! Google Play has in fact been released! With some voice feedback from Win 22:48 Find out exactly how you can access podcasts in Google Play Music So autoplay on a website, yeay or nay? The ability for you to archive your media is coming, oh yes it is iTunes tip time! It's all about how some M4As are not allowing to preview content from iTunes and what you can do to fix it Rob wants you to email him if you're producing your podcast using an iPad! A very BIG podcaster's episodes were not showing up in iTunes…and guess what? It was do to his artwork being over 500kb Just because you THINK your artwork meets specs, does not mean it actually meets spec Recent website crashes and back-up woes with sad feedback from Craig 42:02 Killer amazing feedback from Krystal about MYSQL, back-ups, caches and all kinds of other geeky stuff for WP 45:37 Spotify stats? Where are they and how do you share that you're on Spotify? Rob gives us the scoop on some stats about Spotify! Some in depth information about using Facebook Ads for your podcast What's with the Skype TOS? Are we breaking them as podcasters? The Why Did You Leave Us Segment! 1:12:18 Some very surprising stats around how people are consuming podcasts and what technology they are using On The Libsyn Blog Rockin' Libsyn Podcasts: Donald Is A Moron Rockin' Libsyn Podcasts: Barrel Proof Comedy Google Play Music FAQs Featured Podcast Promos + Audio Winnipeg's Real Estate Podcast The Trivia Minute Wasting All The Time Improv Comedy Podcast 5 Minute Mojo Win from Win's Women Of Wisdom Craig from The Ingles Podcast Podcasting Articles and Links mentioned by Rob and Elsie Our SpeakPipe Feedback page! Leave us feedback :) Gale Anne Hurd, Ben Silverman Team for Horror Anthology Based on ‘Lore' Podcast (Exclusive) Find and play podcasts in the Android Google app Google Play Music FAQs Skype Broadcast Terms Of Service Marketing Retreat For Introverted Women Nathan Latka's The Top Podcast - Ep 249 featuring Rob Rob on The Podcast Engineering School Podcast Where is Libsyn Going? (In Real Life) Podcast Movement 2016 When you buy your ticket use the code ‘libsyn' to get $50 off! Podcast Mid-atlantic Blogging While Brown The LIVE She Podcasts Brunch Bash! in Chicago HELP US SPREAD THE WORD! We'd love it if you could please share #TheFeed with your twitter followers. Click here to post a tweet! If you dug this episode head on over to iTunes and kindly leave us a rating, a review and subscribe! Ways to subscribe to The Feed: The Official Libsyn Podcast Click here to subscribe via iTunes Click here to subscribe via RSS You can also subscribe via Stitcher FEEDBACK + PROMOTION You can ask your questions, make comments and create a segment about podcasting for podcasters! Let your voice be heard. Download the FREE The Feed App for iOS and Android (you can send feedback straight from within the app) Call 412 573 1934 Email thefeed@libsyn.com Use our SpeakPipe Page!  

Gale Anne Hurd, from geek girl to Walking Dead producer. Also, the sordid past of two Hollywood producers.