Podcasts about Gloria Katz

Cartoonist and editor Sammy Harkham, author of the recent and critically acclaimed graphic novel Blood of the Virgin, joins hosts Harry and Daniel to discuss the 1973 cult classic horror film, Messiah of Evil, co-directed by Willard Huyck and Gloria Katz. A 70s era stylized West Coast horror, the movie has acquired a cult following and is credited as one of the conceptual forbearers of the modern zombie film.They discuss the movie's aesthetic successes in spite of, or perhaps because of, its extremely limited budget. They explore themes of the tension between community and identity, the banality of emotionless evil, and argue some Jewish readings of the film's conception of its Messianic ideas.Purchase Sammy's BookFollow Sammy Harkham on InstagramMessiah of Evil Movie TrailerMessiah of Evil on IMDbConnect with Jews on Film online:Jews on Film Merch - https://jews-on-film.printify.me/productsInstagram - https://www.instagram.com/jewsonfilm/Twitter - https://twitter.com/jewsonfilmpodYouTube - https://www.youtube.com/@jewsonfilmTikTok - https://www.tiktok.com/@jewsonfilmpod

Dans cet épisode #155, nous allons parler du célèbrissime Indiana Jones et le temple maudit, sorti en 1984.Religion bafouée, interdit de tournage, scénaristes inquiets, utilisation d'un mythe colonial, racisme et misogynie...Si l'on abandonne la prouesse technique et le divertissement, le film ne serait-il pas hautement gênant ? Comment combiner nostalgie et stéréotypes ?C'est ce que nous avons essayé de voir. Suivez-nous sur insta : bollywood_versus et twitter : BV_podcast Crédits épisode : · Script : https://www.scriptslug.com/script/indiana-jones-and-the-temple-of-doom-2020 · Bhattacharya, S. Monsters in the dark: the discovery of Thuggee and demographic knowledge in colonial India. Palgrave Commun 6, 78 (2020). https://doi.org/10.1057/s41599-020-0458-8 · Gokhale, N., & Foster, M. (2024). ‘Not regular thieves': shades of Bhil engagement with company criminal justice (c. 1818–1825). History Australia, 21(2), 204–225. https://doi.org/10.1080/14490854.2024.2337861 · Keni, A. Manhandling the Goddess: The Thuggee Archive as a Sum of (Male) Parts. Law Critique 35, 337–356 (2024). https://doi.org/10.1007/s10978-023-09345-6 · Chakraborty, Ayusman. (2021). Thuggee in England: Tracing the Origin and Development of Fantasies of Thug-Invasion and Reverse Colonization in late nineteenth century British Fiction. Rupkatha Journal on Interdisciplinary Studies in Humanities. 13. 10.21659/rupkatha.v13n1.12. · “Ramaseeana; or, A vocabulary of the peculiar language used by the thugs” by Sleeman, W. H. (William Henry), Sir, 1788-1856. Publication date 1836. https://archive.org/details/ramaseeanaoravo00sleegoog/page/n63/mode/2up · “The Underworld Of India” by Macmunn George Sir. Publication date 1933. https://archive.org/details/in.ernet.dli.2015.211523/page/n19/mode/2up · FORTUNE AND GLORY: Writers of Doom! Quint interviews Willard Huyck and Gloria Katz! Quint. May 23, 2014. https://legacy.aintitcool.com/node/67450 · Bacon, Simon. Monsters. Part III : Cultural Intersections. Deumo: Indiana Jones and the Temple of Doom (Spielberg, 1984) – Monsters of Colonialism (Partha Mitter). Oxford, Royaume-Uni: Peter Lang Verlag, 2020. < 10.3726/b14677 > · Archives presse : https://books.google.fr/books?id=IMhYAAAAIBAJ&pg=PA42&dq=indiana+jones+temple+of+doom+racism&article_id=7103,6091744&hl=fr&sa=X&ved=2ahUKEwiB6_rxtq6JAxXHVaQEHUT1FJMQ6AF6BAgFEAI#v=onepage&q=indiana%20jones%20temple%20of%20doom%20racism&f=false · Archives presse : https://books.google.fr/books?id=EFhWAAAAIBAJ&pg=PA28&dq=indiana+jones+temple+of+doom+racism&article_id=6961,7092722&hl=fr&sa=X&ved=2ahUKEwiB6_rxtq6JAxXHVaQEHUT1FJMQ6AF6BAgEEAI#v=onepage&q=indiana%20jones%20temple%20of%20doom%20racism&f=false · Archive presse : https://www.csmonitor.com/1984/0531/053116.html · Archive presse : https://www.nytimes.com/1984/05/23/movies/moviesspecial/indiana-jones-and-the-temple-of-doom.html · Archive presse : https://books.google.fr/books?id=h2MUAAAAIBAJ&pg=PA10&dq=indiana+jones+and+the+temple+of+doom+sexism&article_id=4586,50738&hl=fr&sa=X&ved=2ahUKEwjojKfKwq6JAxXfQ6QEHTbsL6kQ6AF6BAgFEAI#v=onepage&q=indiana%20jones%20and%20the%20temple%20of%20doom%20sexism&f=false · “The Story For Temple Of Doom Scared Away The Original Indiana Jones Writer” Biyle, 2022. https://www.slashfilm.com/1042556/the-story-for-temple-of-doom-scared-away-the-original-indiana-jones-writer/ · Indiana Jones And The Temple Of Doom: An Ugly Propaganda That Still Lives On. Aravindan Neelakandan. May 05, 2017. https://swarajyamag.com/culture/indiana-jones-and-the-temple-of-doom-an-ugly-propaganda-that-still-lives-on

American Graffiti is a 1973 American coming-of-age comedy-drama film directed by George Lucas, produced by Francis Ford Coppola, written by Willard Huyck, Gloria Katz and Lucas, and starring Richard Dreyfuss, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Mackenzie Phillips, Bo Hopkins, and Wolfman Jack. Set in Modesto, California, in 1962, the film is a study of the cruising and early rock 'n' roll cultures popular among Lucas's age group at that time. Through a series of vignettes, it tells the story of a group of teenagers and their adventures over the course of a night.

Les suggestions d'AlexandreHorror Express, Eugenio Martín (1972)The Devonsville Terror, Ulli Lommel (1983)Dark Waters,  Mariano Baino (1993)The Wind, Nico Mastorakis (1986)Santet, Sisworo Gautama Putra (1988)Les suggestions d'ArielThe Jar, Bruce Toscano (1984)Terror at Tenkiller, Ken Meyer (1986)The New York Ripper, Lucio Fulci (1982)Hollywood 90028, Christina Hornisher (1973)Messiah of Evil, Willard Huyck et Gloria Katz (1974) Le balado 100% cinéma de la revue de cinéma 24 images

Writers/directors Willard Huyck and Gloria Katz, moderated by Lee Christian

Howard the Duck was a pet project for George Lucas, who, upon realizing that doing a live-action adaptation with a CGI lead wasn't going to work, lost interest and handed it over to Will Huyck and Gloria Katz, who wrote American Graffiti with Lucas. This was just the beginning of a long mess of a production, leading to one of the biggest Blockbuster Bombs of all time. Starring Lea Thompson, Ed Gale, Chip Zien, Tim Robbins, Jeffrey Jones (ugh), Liz Sagal, Dominique Davalos, Holly Robinson, David Paymer, and the voice of Richard Kiley. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

We held a Listener Choice Lottery, and the winning selection was 1986's Howard the Duck, brought to us courtesy of Smash Trivia John. So we dive in—beak first—to unpack the history of this notorious disaster of a movie. Then we go through the movie itself, excruciatingly thoroughly, to figure out if this movie is too sexy or not sexy enough. Plus, a lot of talk about '80s weirdos and how they're not so different from us, when you think about it. And we try to get to the bottom of what exactly this movie is saying.   Next week: We visit Tim Burton's Planet of the Apes (2001) with our friend, returning guest Cinematic Joshua   Watch this episode in full on YouTube: https://youtu.be/c3i2sKcFp7Y   Time stamps: 00:01:00 — Why are we covering Howard the Duck on our podcast? 00:06:31 — Pre-movie predictions 00:17:34 — History segment: A history of Howard the Duck in comics and the production and disastrous reception of the movie, as shepherded by executive producer George Lucas, writer/director Willard Huyck, and writer/producer Gloria Katz 00:30:21 — In-depth movie discussion 01:30:01 — Final thoughts and star ratings   Artwork by Laci Roth.   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode: “Winston-Salem” - https://youtu.be/-acMutUf8IM  “Snake Drama” - https://youtu.be/xrzz8_2Mqkg “The Bible Towers of Bluebonnet” - https://youtu.be/k7wlxTGGEIQ    Source: “‘Howard the Duck:' The Oral History” by Caseen Gaines | Decider, 2016 - https://dcdr.me/3Wk8BBs    “‘Howard the Duck' Turns 35: Stars Revisit Notorious Bomb Amid New Fervor for Marvel Character” by Ryan Parker | The Hollywood Reporter, 2021 - https://bit.ly/3xYxw3u    “The Disastrous History of Howard the Duck” by Yesterworld Entertainment | YouTube, 2023 - https://youtu.be/qCvoXrCwrhs    “George Lucas: A Life” by Brian Jay Jones — https://amzn.to/47xTVk3    “Marvel Comics: The Untold Story” by Sean Howe — https://amzn.to/3w2aeJu  

Holly waits for the Blood Moon to bring the return of the "Dark Stranger" from the ocean's depths with Messiah of Evil (1973), in which a woman goes searching for her missing artist father in a seemingly abandoned seaside town where residents await the fulfilment of a centuries old curse. Listen as we revisit the first film from the Howard the Duck-Indiana Jones writing team of Willard Huyck and Gloria Katz, get chased by crowds of cat-screeching undead ghouls, bleed from our eyes, and camp with the Donner Party on this week's exciting episode! Hosted on Acast. See acast.com/privacy for more information.

Titles: Indiana Jones and the Temple of Doom [Wikipedia] [IMDb] Indiana Jones and the Last Crusade [Wikipedia] [IMDb] Director: Steven Spielberg Producer: Robert Watts Writers: Willard Huyck, Gloria Katz (screenplay); George Lucas (story) (Temple of Doom) Jeffrey Boam (screenplay); George Lucas, Menno Meyjes (story) (Last Crusade) Stars: Harrison Ford, Kate Capshaw, Amrish Puri, Roshan Seth, Philip Stone, Ke Huy Quan (Temple of Doom) Harrison Ford, Denholm Elliott, Alison Doody, John Rhys-Davies, Julian Glover, Sean Connery (Last Crusade) Release dates: May 23, 1984 (US, Temple of Doom) May 24, 1989 (US, Last Crusade) SHOWNOTES: Welcome back to our review of the beloved 80s action-adventure film trilogy Indiana Jones (which definitely ended there and was never followed by any sequels)! Last time we analyzed Raiders of the Lost Ark, and in Part 2 we'll be covering the last two movies: Temple of Doom and Last Crusade. Starting with arguably the weakest link of the trilogy and the "black sheep" of the film series, and ending with what many consider to be the peak of the franchise, it'll make for an... illuminating (read that in your best Sean Connery accent) discussion. This duo, for better or worse (almost entirely better) helped define the original Indiana Jones story, which in turn influenced cinema in ways we cannot overstate. So, follow us on the conclusion of this epic journey! *cue theme music* Collateral Cinema is on Facebook, Instagram, and Twitter, and is on Podbean, Spotify, Apple Podcasts, Google Podcasts, YouTube, iHeartRadio, Chill Lover Radio, and wherever else you get your podcasts! Collateral Media presents Robert Ortegon's Texas Sundown, a 2024 indie short film made by and starring the crew of Collateral Cinema, available now on YouTube: youtu.be/trpnh2fYkaY Collateral Cinema is a Podbean affiliate. Sign up for unlimited podcasting hosting at the following link, and get one month of hosting free: podbean.com/CCinemaPodcast (Collateral Cinema is a Collateral Media Podcast. Intro song is a license-free beat. All music and movie clips are owned by their respective creators and are used for educational purposes only. Please don't sue us; we're poor!)

Long awaited, ever since Jaina lost our 2022 predicitions episode, it's finally time to watch Howard the Duck! Yes, the 1986 film starring Lea Thompkins, Tim Robbins, and some other people we'd rather not name. Written by Willard Huyck and Gloria Katz, directed by Huyck and produced by George "it's like poetry, it rhymes" Lucas, it's truly something that has to be seen to be believed. Not even our well documented love of the duck's comics can save us now.To that end, this episode is a commentary track! Cue up the film, listen to our intro, wait for the countdown, and enjoy. We had a lot of fun making this and, honestly? Made watching this deeply uncomfortable, absolute mess of a film bearable. You can also listen to it without the film but it's a lot more awkward, which, you know, is the vibe this movie elicits.Shout off in the comment section below and get the conversation started or share them on the burning hell site formerly known as Twitter using the hashtag #MakeMineMultiversity. Maybe skeet it on BlueSky! Or toot it on Mastodon. Or do something EXTRA funky over on Tumblr. We're exploring our options.

Episode 84: Welcome to Week 1 of ONE FUCKING 'TOBER – our month-long blitz of covering horror flicks as Tom, Evan & Marcus go one fucking hour on MESSIAH OF EVIL (1973), Willard Huyck and Gloria Katz's singular, nightmare-logic mash-up of arthouse and grindhouse.   Tickets to EXP.TV's Phenomecon at the Philosophical Research Society in Los Angeles on Oct 10, Oct 17, Oct 24 & Oct 31: ⁠https://www.prs.org/events.html⁠ Watch EXP TV: ⁠https://exptv.org/ ⁠ Tickets to Oct 24th MESSIAH OF EVIL screening at Roxy Cinema in NYC: ⁠https://www.roxycinemanewyork.com/screenings/messiah-of-evil/ ⁠ Sign up for the OFH Patreon and gain access to our exclusive feature-length audio commentary tracks: ⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/onefuckinghour⁠⁠⁠⁠⁠⁠⁠

Philena Franklin is back but she's still on strike with SAG AFTRA so we've got some PUBLIC DOMAIN ZOMBIES for our first of two special HALLOWEEN episodes! First, we have rights-free ghouls invading a Ralph's in Burbank in MESSIAH OF EVIL (1974) from Willard Huyck and Gloria Katz, the forgotten Lucasfilm power couple who later brought you HOWARD THE DUCK (1986). After really getting disturbing letters from her artist father, a young woman named Arletty (Marianna Hill) goes to the creepy coastal town of Point Dume to find out what's going on. She finds a polyamorous threesome, strange people gathering to stare at the sea at night, and, yes, flesh-eating zombies with blood streaming from their eyes. Also starring Elisha Cook, Jr., whom Greg calls the greatest film noir patsy of all time, and Royal Dano, Disneyland's voice of Abe Lincoln. Now streaming on Prime, Shudder and just about everywhere else--it's public domain! Next, we have Bela Lugosi himself in WHITE ZOMBIE, widely considered to be the first zombie flick ever. A rich plantation owner wants Bela to put a voodoo spell on the woman he loves, but gets so much more than he bargained for. This movie has some of the creepiest zombies ever and one of Bela's best performances, and a banger of an opening score according to Greg. The best print of White Zombie is streaming Kanopy, a free video streaming service available through participating public libraries. This episode is a bit of long one because we're so happy to have the full crew back again. We open with some talk of the Hollywood strikes, the end of Netflix DVDs by mail, a review of Sean Howe's new book AGENTS OF CHAOS, Cory's encounter with Pat Morita, and so much more. OMFYS Hosts: Bob Calhoun, Philena Franklin, Cory Sklar and Greg Franklin MUSIC Theme song: Chaki the Funk Wizard "We Get Stoned All Night Long" by Three Stoned Men, courtesy of John Blackwell "Minor Lament for Solo Bass" by John Patitucci, courtesy of YouTube Audio Library "Swan Lake" Op.20 by Tchaikovsky, courtesy of Wikimedia Commons Movie and trailer audio courtesy of Archive.org Instagram/Facebook (Meta): oldmoviesforyoungstoners Bluesky: @oldmoviesystoners.bsky.social Twitter (X): OM4YStoners Contact: oldmoviesforyoungstoners AT gmail DOT com

Jonas Radulich, Trey Lugo, Lilly Radulich and Mark Radulich provide Howard the Duck 1986 Alternative Commentary.Howard the Duck (known in France as Howard: A New Breed of Hero) is a 1986 American superhero comedy film directed by Willard Huyck and starring Lea Thompson, Jeffrey Jones, and Tim Robbins. Based on the Marvel Comics character of the same name, the film was produced by Gloria Katz and written by Huyck and Katz, with George Lucas as executive producer. The screenplay was originally intended to be an animated film, but the film adaptation became live-action because of a contractual obligation. Although several TV adaptations of Marvel characters had aired during the preceding 21 years, this was the first attempt at a theatrical release since the Captain America serial of 1944.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsosnapchat: markkind76FB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich

INDIANA JONES OF TEMPLETS FORBANDELSE!Den anden film, som er den første og fjerde for os!Efter succesen Raiders of the Lost Ark, tager Harrison Ford endnu engang pisken i hånden, og bevæger sig ud i den farvrige verden. Filmen er sat et år før hændelserne i Raiders of the Lost Ark.-Jakob Emiliussen er vært for podcasten 'Nørdpatrujlen'.Find link her:https://open.spotify.com/show/4c6B29ZE0zN8ZP8J3u2v98?si=9a800d5c252048e1-Instruktør: Steven SpielbergManuskript: Willard Huyck, Gloria Katz og George LucasMedvirkende: Harrison Ford, Ke Huy Quan og Kate CapshawFind os på sociale medier:Vi er på Instagram, TikTok og Facebook!Instagram: https://www.instagram.com/hosfilmhulen/Facebook: https://www.facebook.com/FilmHulenTikTok: https://www.tiktok.com/@filmhulenHvis du har en nyhed eller andet, du synes vi skal tage en snak om, så send os en besked på enten Facebook, Instagram eller på mail filmhulen@gmail.com

Before George Lucas launched the Star Wars Universe in 1977, he directed the coming-of-age comedy-drama American Graffiti. Produced by Francis Ford Coppola, the film revolves around various early rock ‘n' roll cultures that helped define a generation. Gearheads often swoon for this memorable film as it features plenty of gorgeous hot rods that any collector would love to have in their garage.American Graffiti is written by Willard Huyck, Gloria Katz, and Lucas and features an eclectic cast of young actors, including Richard Dreyfus, Ron Howard, Paul Le Mat, Harrison Ford, Charles Martin Smith, Cindy Williams, Candy Clark, Suzanne Somers, Kathleen Quinlan, Bo Hopkins, Wolfman Jack, and more.The film takes audiences back to 1962 when teenagers owned the night, and Johnny Law was no match for a group of miscreants looking to cause mischief. Set to a soundtrack that features musical acts like Buster Brown, The Platters, Chuck Berry, and The Heartbeats, American Graffiti presented an ideal environment for teens. The film created a Neverland environment for curfew-defying hooligans and acted as pure nightmare fuel for square parents. Join us as we discover what the f@%$ happened to one of Lucas's earliest films before he became the founder of the most celebrated sci-fi universe of all time.

The hero is back!  Yes, DJ Andy Craik has returned for a second visit, and he's selected everyone's favourite of the Indy franchise: INDIANA JONES AND THE TEMPLE OF DOOM.  Hang on, listeners. We going for a ride!   END CREDITS  - Presented by Robert Johnson and Chris Webb  - Produced by Chris Webb  - "Still Any Good?" logo designed by Graham Wood & Robert Johnson  - Crap poster mock-up by Andy Craik & Chris Webb  - Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission    (c) 2023 Tiger Feet Productions    Find us:  Twitter @stillanygoodpod  Instagram stillanygoodpod  Email stillanygood@gmail.com  Find Julia: Twitter @andycraikSupport the show

Welcome back to Indy month!!! The boys carry on with Indy month with Indiana Jones and the Temple of Doom from 1984 directed by Steven Spielberg, story by George Lucas and screenplay written by Willard Huyck and Gloria Katz, Produced by Robert Watts and starring Harrison Ford, Kate Capshaw, Ke Huy Quan, Amrish Puri, Roshan Stone, Phillip Stone, Roy Chiao, D.R. Nanayakkara and Raj Singh!!! Thanks for checkin us out and you can find our back catalogue on podbean.com Intro and Outro music conducted by John Williams Saving Willie/Slaves Children's Crusade/Short Round Helps https://youtu.be/SJOW1E5YpRM Mine Car Chase https://youtu.be/PYXiiNlra4M  

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

Brady, Josh, Alison and Lee from They Must Be Destroyed On Sight! heed the blood moon in Messiah of Evil - the 1973 lesser known horror movie written and directed by Gloria Katz and Willard Huyck.Plus!The House of the Devil, Saint Maude, Horror Noire, The Stranger, Barbarian, End of Days, Terrifier 2, Cat People (1982), Breaking Point (1994), scaring children on Halloween, local wrestling and social media fasting!Leave us a voicemail! We'll play it on the show. Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!

In 1986, long before the Avengers assembled on the big screen and transformed the Marvel Cinematic Universe into an unstoppable Hollywood juggernaut, a significantly different comic character marked the first live-action Marvel feature film: HOWARD THE DUCK. But not even George Lucas, along with his AMERICAN GRAFFITI and STAR WARS collaborators Willard Huyck and Gloria Katz, could turn this wise-quacking waterfowl into box office gold. All that despite a score by John Barry, songs by Thomas Dolby (and sung by star Lea Thompson), a young Tim Robbins, Jeffrey Jones , the voice of Chip Zien and more! Ruffle your feathers and find out "WTF Happened to HOWARD THE DUCK!"

Indiana Jones & The Temple of Doom Novelization Discussion #IndianaJones #TempleofDoom #novelizations Novelization by James Kahn. Adapated from the screeplay by Willard Huyck and Gloria Katz. Based on a story by George Lucas

This week Joshua and Drusilla watch an underseen 70's bop, Messiah of Evil. From Wikipedia: "Messiah of Evil (later also shown under the title Dead People) is a 1973 American supernatural horror film co-written, co-produced, and co-directed by Willard Huyck and Gloria Katz, and starring Marianna Hill, Michael Greer, Anitra Ford, Royal Dano, and Elisha Cook Jr. Its plot follows a woman who travels to a remote coastal town in California to find her missing artist father; upon arrival, she finds herself in the midst of a series of bizarre incidents."But first! A lengthy debate over takeout, hot sauce, and pickles, which Josh edits out! But Drusilla watched an Amicus film, The Beast Must Die. This ties nicely into Josh's movie, Creepshow, and the duo debates about which story should have been cut.  Other movies discussed: Dead of Night, the 70's Tales from the Crypt, Creepshow 2, The Ruins, the 70s Invasion of the Body Snatchers, Little Shop of Horrors. Next week: The Wailing with a very special guest! Website: http://www.bloodhauspod.com  Twitter: https://twitter.com/BloodhausPod Instagram: https://www.instagram.com/bloodhauspod/ Email: bloodhauspod@gmail.com  Drusilla's art: https://www.sisterhydedesign.com/ Drusilla's Instagram: https://www.instagram.com/hydesister/ Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/  Joshua's website: https://www.joshuaconkel.com/ Joshua's Twitter: https://twitter.com/JoshuaConkel  Joshua's Instagram: https://www.instagram.com/joshua_conkel/ Joshua's Letterboxd: https://letterboxd.com/joshuaconkel/ 

California, early 70s. Two fresh, intrepid filmakers Willard Huyck and Gloria Katz set out to make... well, a movie. And it works! Just about. Tune in for the story of this chaotic production and unexpected classic of independent horror. Next episode: THE QUIET EARTH (1985)

Malgré son budget aussi bien gavé qu'un foie gras, ce canard-là ne vola guère très haut dans la basse-cour hollywoodienne. Sorti en France sous le titre de Howard : une nouvelle race de héros, le 10 décembre 1986, le blockbuster Howard the Duck ne rapporta à son producteur George Lucas que goudron et plumes au box-office américain. Réalisé par Willard Huyk, coécrit par celui-ci et son épouse Gloria Katz, également productrice, ce film totalement incongru (et royalement raté) entendait adapter les aventures d'un personnage de comics apparu du côté de chez Marvel en 1973.Howard, canard extraterrestre hâbleur, jouisseur et libidineux, est accidentellement catapulté depuis sa planète d'origine sur la Terre, au fin fond de la Floride, par une force mystérieuse. Imaginé par le scénariste Steve Gerber et le dessinateur Val Mayerik, Howard le canard était une création satirique typique d'un certain esprit underground, lointain cousin parodique du Donald de Disney (qui finit d'ailleurs par menacer Marvel d'un procès), dont les exploits loufoques avaient essentiellement pour but de tourner en dérision la société américaine.Au milieu des années 1970, George Lucas se prit de passion pour le canard insolent, en racheta les droits et mijota un projet d'adaptation à gros budget pour le studio Universal, en confiant les rênes du projet au couple Huyk/Katz, vieux amis du papa de Star Wars depuis la fac. Coauteurs, avec Lucas, du scénario de American Graffiti, Willard et Gloria aidèrent également Lucas à affiner le personnage de la princesse Leia dans La Guerre des étoiles et, surtout, ils signèrent le script d'Indiana Jones et le temple maudit.C'est en pleine confiance, malgré leur CV plutôt piteux en tant que réalisateurs (Le Messie du mal, French Postcards, Une défense canon… une brochette de ratages), que George Lucas laissa donc ses deux amis assurer la conduite du projet « Howard le Canard », qui rapidement remporta la palme du film à problèmes.Principale difficulté lors du tournage, qui débuta en novembre 1985 dans les environs de San Francisco (pour une durée de quatre mois) : le casse-tête technique posé par le costume du canard, dans lequel étouffaient de chaleur ses divers interprètes. Mais Howard causa bien d'autres soucis à ses réalisateurs, au premier rang desquels un impossible compromis à trouver entre divertissement grand public et fibre profondément provocatrice du comic book d'origine.Le résultat inodore et impersonnel du montage final, aggravé par une mise en scène sans la moindre étincelle, causa au canard maudit de se noyer dans la mare du box-office… et de devenir la risée d'Hollywood en raison de plusieurs scènes franchement gênantes. Déjà endetté en raison de la construction de son Skywalker Ranch et d'un divorce ruineux avec son épouse Marcia, George Lucas subit un coup de grâce avec le cinglant échec de Howard the Duck et dut se séparer de la filiale animation de Lucasfilm pour sauver son empire.Le réalisateur-producteur traîna longtemps cette défaite comme un douloureux boulet, mais, depuis quelques années, le vilain petit canard boiteux semble avoir retrouvé les grâces d'une nouvelle génération de spectateurs. Marvel Studios l'a même réanimé sous la forme, cette fois, d'une créature en images de synthèse pour quelques furtives apparitions dans Les Gardiens de la galaxie 1 et 2, ainsi que dans un plan d'Avengers Endgame. En attendant qu'Howard ne s'ébroue de nouveau sur nos écrans – tout est possible –, l'équipe de Ciné-Crash a pris son courage à deux mains et une grande inspiration avant de replonger dans cet étrange ratage de l'année 1986. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

Author, editor and film critic Kat Ellinger takes Becky and Cam on a trip with two unreal films from 1973: Willard Huyck and Gloria Katz's Messiah of Evil, and Alejandro Jodorowsky's The Holy Mountain. Kat Ellinger is the Editor-in-Chief at Diabolique Magazine, and the co-host of their Daughters of Darkness and Hell's Belles podcasts. She has also written for BFI, Senses of Cinema, Fangoria and Scream Magazine, and provided various home video supplements, commentary (including Blue Underground's 4K Ultra HD version of Daughters of Darkness and Imprint's Bluray of Let's Scare Jessica to Death), liner notes, on camera interviews and audio essays, for a number of companies including Arrow Films, Kino Lorber, Indicator, Second Run and Cult Films. Kat is the author of Daughters of Darkness (Devil's Advocates, Auteur), and All the Colours of Sergio Martino (Arrow Films). See acast.com/privacy for privacy and opt-out information.

After receiving a mysterious letter, a man travels to a desolate New England town with only a pack of smokes and soon becomes trapped in an existential nightmare. On Episode 503 of Trick or Treat Radio we are joined once again by Arkham Josh to discuss Offseason, the latest film from director Mickey Keating! We also say goodbye to the bad guy, talk about Coin Flip Cinema, and discuss Lovecraftian horror. So grab your long box full of Rom the Space Knight, wrench out the Ram sticks, and strap on for the world's most dangerous podcast!Stuff we talk about: RIP Scott Hall, Wrench Out the Ram Sticks, Michael Keaton, what is a motherboard, RAM sticks, fiddlesticks, Razor Ramon's best moments, Ricky “The Dragon” Steamboat, 1-2-3 Kid, Jerry Springer, DDP Yoga, The Outsiders, best acting performances in film by musicians, Crossroads, Karate Kid, El Santo vs. The Karate Kid, Coin Flip Cinema, reading out of the Necronomicon, The House of the Devil, Jocelin Donahue, Richard Brake, The Battery, Jeremy Gardner, Larry Fessenden, dream logic euro horror, Mickey Keating, Offseason, Joe Swanberg, Deliverance, filmmaking chameleon, Dungeons and Dragons, Point Break to Endor, Lovecraftian Horror, existential dread, City of the Living Dead, Silent Hill, C.M. Punk, ejaculating walls, The Girl on the Third Floor, XXXorcist, Messiah of Evil, Howard the Duck, Indiana Jones and the Temple of Doom, American Graffiti, erotic vampire films, Willard Huyck, Gloria Katz, Take Back the Night, Gia Elliot, The Third Day, DMZ, Rosario Dawson, Kevin Smith, Jude Law, HBO Max, The New Gods, The Eternals, The Inhumans, Anson Mount, Brian Wood, Y the Last Man, having serious relationships with comics, X, Ti West, The Innkeepers, In a Valley of Violence, Them, Saving a Prayer, karaoke time with Bobby Walnuts, The Cable Car, Antichrist, Lars von Trier, Until the Light Takes Us, Gates of Hell, Fresh, Tam and Pammy, Motley Crue, Tommy Lee, Nick Offerman's full frontal, Deadwood, Rudy Ray Moore, Thank You for Letting Me Be Myself, Mark Jason Murray, equal opportunity offender, Fresh Taste of Bel Air, Sid the Kid, and flipping through Rom coms.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show (https://www.patreon.com/trickortreatradio)

Jump into the trash compactor with Silver and Cat as we celebrate Women's History Month! This will be a four-episode series where we'll be celebrating the women of Star Wars who have made an impact in the films, TV series, books, and so much more.On today's episode, Cat and Silver discuss the legacies of trailblazing women who paved the way for so many others, including Gloria Katz, Leigh Brackett, Deborah Chow, and Kathleen Kennedy.This episode features excerpts from Cher Martinetti's book Pop Culture Pioneers: The Women Who Transformed Fandom in Film, Television, Comics, and More. You can purchase the book here: www.runningpress.com/titles/cher-martinetti/pop-culture-pioneers/9780762498529While we can't yet ForceTime, we'd still love to connect!SOCIAL MEDIA:intothegarbagechute.cominstagram.com/intothegcpodcasttwitter.com/InGarbageChutediscord.gg/aqQ9kZvgCONTACT:intothegcpodcast@gmail.com

l'occasion de la journée internationale des droits des femmes, nous avons voulu rendre hommage aux femmes qui ont contribué, souvent dans l'ombre, à la création de notre galaxie préférée. Qu'elles soient sous les feux des projecteurs comme Carrie Fisher ou Kathleen Kennedy ou inconnues du grand public comme Gloria Katz et Leigh Brackett, qui sont ces femmes ? Quelle a été ou est encore leur contribution à Star Wars ? Avec nous pour en parler, nos talentueuses invitées : Aude, podcasteuse chez Starwars en Direct (Insta : @audelandrieux) Claire et Aurélie de la chaîne des Lucasfilles (Twitter : @DomanClaire et @Tricaurelie / Insta : @claireno45 et @tricaurelie) Lucile Galliot, directrice de la collection Star Wars chez Pocket Imaginaire (Twitter : @Louve_trad / Insta : @lucile_galliot) Phobos, cosplayeuse et podcasteuse chez Outrider (Twitter/Insta : @PhobosCosplay) Illustration originale : © Eiriis1 Musique : © "Fearless First" Kevin MacLeod (incompetech.com)Licensed under Creative Commons: By Attribution 4.0 License

En 1986 George Lucas estaba en un momento dulce. Tras el éxito universal, nunca mejor dicho, de su saga Star Wars y de la de Indiana Jones, se encontraba ávido de nuevos retos. Junto a dos amigos de universidad con los que ya había trabajado en varias ocasiones antes, Willard Huyck y Gloria Katz, desarrolló la alocada idea de adaptar al cine uno de los personajes Marvel más atípicos, el Pato Howard. ¿Cómo accedió Marvel a ceder los derechos, y por qué La Universal dio el visto bueno al proyecto? ¿Por qué una idea, que iba a ser llevada a cabo con técnicas de animación, pasó a ser una película de imagen real? ¿Cómo acabó el propio Willard Huyck dirigiendo la película? ¿Cómo se adaptan, a una película con pretensiones de ser un blockbuster, las aventuras de un pato fumador de puros, sarcástico, mal hablado y ligón? Y sobre todo ¿cómo se convirtió el proyecto en una película nominada a siete premios Razzies y que, a día de hoy, está considerada uno de los mayores fracasos de la historia del cine? El equipo de Remake a los 80, en esta ocasión formado por Oscar Cabrera, Fran Delgado y Juan Pablo Videoclubsero , junto a un Highlander nada patoso, el señor "Jordi Extremera", filmaker y podcaster (El Corte Final https://www.ivoox.com/podcast-corte-final_sq_f1691176_1.html), intenta ofrecer algunas respuestas a estas cuestiones. Para ello, reflexionamos sobre los pecados y aciertos de esta adaptación de Howard. Analizamos su origen en el cómic, su evolución como personaje y sus diferencias respecto a la versión cinematográfica. Hablamos también sobre aspectos técnicos y artísticos de la película, desplumando sin tapujos todas las incidencias y curiosidades que se cuentan sobre el rodaje. Repasamos asimismo la trayectoria del elenco protagonista y del compositor de la BSO, John Barry. Y, aunque no podemos decir que hemos “puesto un huevo”, intentamos aportar nuestra particular visión sobre la curiosa experiencia que supone ver, a día de hoy, un pato adorable y con mal carácter, salvando al mundo mientras coquetea con una humana. Edición de sonido: Fran Delgado _______________________________________________ Escúchanos también en www.remakealos80.com Síguenos en Twitter @Remakealos80 y búscanos en Telegram, te dejamos el enlace a nuestro grupo de para que compartas tus opiniones e interactúes con nosotros: https://t.me/joinchat/GXsRJYMd3wQVBG2v Canal de YouTube: https://www.youtube.com/channel/UCJmxVviJeHop716BmwtcKCw/featured Canal de Twitch: https://www.twitch.tv/remakealos80

We're done talking about the movies. Now let's talk about the series. We have come to the end of our Horror Debuts series, exploring six films and one extra as our September 2021 Member Bonus Episode. All told, we looked at Messiah of Evil, Goodnight Mommy, A Girl Walks Home Alone at Night, The Babadook, The Lure, Saint Maud, and Relic. Each director (or pair of directors as the case may be) brings a unique vision to their story, and perhaps the fact that they chose the horror genre as the place to start their feature film career is telling as it allows for a lot of play. So what did we – Pete Wright and Andy Nelson – think about not just the films but the series as a whole? How do these films stand up to other horror films of the past and of this last decade? Why these shifts in the types of horror films getting made? We dig in to horror films in general and these films specifically in our Horror Debuts Retake. Here's a hint at what we talk about. How accurate were our original star ratings from when we had our initial conversations as compared to now? Pete found that Goodnight Mommy hasn't held up over time and demoted it whereas Andy largely still connects with The Babadook the least. Relic tops both of our lists though. Horror films have evolved over the years and decades. It's great seeing so many strong female voices rising in the ranks as directors over the last few decades. We would've liked to have had more woman-directed horror debuts on this list but found few before the turn of the century. Messiah of Evil is a fun one to include, but even that was co-directed (and still had Gloria Katz uncredited for her role in directing, likely because of DGA policies). But is there anything to the fact that these films have horror elements but aren't straight-up horror films? Or that they're incorporating metaphorical elements much more strongly than we've seen recently? Horror films have shifted each decade, so this tone definitely seems to fit the overall vibe of horror in the 2010s, but is any of that coming from the larger group of female directors? We finally rank all of the films on Flickchart. It's becoming more and more clear to us that our middle block is throwing too many films we really like into the bottom half. Regardless, it's an interesting order that mostly reflects our positions on the films, even if not 100% accurate. All in all, it was a thrilling series and a great addition to our 11th season. Next up – as a way to celebrate our tenth anniversary coming up on November 11th, we're looking at 10 films that are also celebrating their Tenth Anniversaries! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Original poster artwork Rank the Movies on Flickchart: Messiah of Evil Goodnight Mommy A Girl Walks Home Alone at Night The Babadook The Lure Saint Maud Relic The Series on Letterboxd Listen to Each of the Episodes: Messiah of Evil Goodnight Mommy A Girl Walks Home Alone at Night The Babadook The Lure Saint Maud Relic This is a member bonus episode. We'd love it if you became a member to support our show, but you'd love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get monthly Flickchart re-ranking episodes, access to members-only Discord channels, and early releases for every episode. We have a special episode we release at the end of each series called Retake during which we break down our overall thoughts of the entire season. Plus, you get to vote on the movies we discuss in our members only episodes as well as the movie lists we discuss on the Saturday Matinée podcast! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

We're done talking about the movies. Now let's talk about the series. We have come to the end of our Horror Debuts series, exploring six films and one extra as our September 2021 Member Bonus Episode. All told, we looked at Messiah of Evil, Goodnight Mommy, A Girl Walks Home Alone at Night, The Babadook, The Lure, Saint Maud, and Relic. Each director (or pair of directors as the case may be) brings a unique vision to their story, and perhaps the fact that they chose the horror genre as the place to start their feature film career is telling as it allows for a lot of play. So what did we – Pete Wright and Andy Nelson – think about not just the films but the series as a whole? How do these films stand up to other horror films of the past and of this last decade? Why these shifts in the types of horror films getting made? We dig in to horror films in general and these films specifically in our Horror Debuts Retake. Here's a hint at what we talk about. How accurate were our original star ratings from when we had our initial conversations as compared to now? Pete found that Goodnight Mommy hasn't held up over time and demoted it whereas Andy largely still connects with The Babadook the least. Relic tops both of our lists though. Horror films have evolved over the years and decades. It's great seeing so many strong female voices rising in the ranks as directors over the last few decades. We would've liked to have had more woman-directed horror debuts on this list but found few before the turn of the century. Messiah of Evil is a fun one to include, but even that was co-directed (and still had Gloria Katz uncredited for her role in directing, likely because of DGA policies). But is there anything to the fact that these films have horror elements but aren't straight-up horror films? Or that they're incorporating metaphorical elements much more strongly than we've seen recently? Horror films have shifted each decade, so this tone definitely seems to fit the overall vibe of horror in the 2010s, but is any of that coming from the larger group of female directors? We finally rank all of the films on Flickchart. It's becoming more and more clear to us that our middle block is throwing too many films we really like into the bottom half. Regardless, it's an interesting order that mostly reflects our positions on the films, even if not 100% accurate. All in all, it was a thrilling series and a great addition to our 11th season. Next up – as a way to celebrate our tenth anniversary coming up on November 11th, we're looking at 10 films that are also celebrating their Tenth Anniversaries! The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Original poster artwork Rank the Movies on Flickchart: Messiah of Evil Goodnight Mommy A Girl Walks Home Alone at Night The Babadook The Lure Saint Maud Relic The Series on Letterboxd Listen to Each of the Episodes: Messiah of Evil Goodnight Mommy A Girl Walks Home Alone at Night The Babadook The Lure Saint Maud Relic This is a member bonus episode. We'd love it if you became a member to support our show, but you'd love it because of everything you get. We have monthly member bonus episodes that only members can access. You also get monthly Flickchart re-ranking episodes, access to members-only Discord channels, and early releases for every episode. We have a special episode we release at the end of each series called Retake during which we break down our overall thoughts of the entire season. Plus, you get to vote on the movies we discuss in our members only episodes as well as the movie lists we discuss on the Saturday Matinée podcast! What can we say? It pays to be a member. Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM.

Messiah of Evil (Willard Huyck and Gloria Katz, 1973)

The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got their start.

The first of six in our Horror Debuts series. Before 'American Graffiti,' before 'Indiana Jones and the Temple of Doom,' before 'Howard the Duck,' there was 'Messiah of Evil.' We talk about where husband and wife team Gloria Katz and Willard Huyck got their start.

While Gloria Katz and Willard Huyck wrote the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil. Unfortunately for them, the producers took it away before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back. Because of that, Katz and Huyck largely dismissed the film for decades. Their attitude changed with time, and by the time the film's restoration for its 35th anniversary rolled around, they recognized the film was peculiar but had its fans and its strengths. Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut' series with Katz's and Huyck's 1973 horror film Messiah of Evil. What works in Messiah of Evil and what doesn't? Katz and Huyck delivered a script that is a bit of a mess when you look at the story, but can we look past that? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So, we have to look at the film as what we have here. And honestly, the story may not be that strong, but it is definitely a horror tone poem. Katz, Huyck and team created a strong mood and tone for sure. Pete struggles a bit more with this tone because he felt like he'd been set up for more slasher killings. The film starts with several brutal murders, after all, before it shifts into less overt, bloody killings. But the film gets under Andy's skin, which he really likes. He feels it's enough. He thinks the film is excelling at creating a vibe that's hard to shake. We try tackling the story to see if we can sort out what we're meant to get from it. Because the story is more vague and ill-defined, it's tricky. There's a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film. The story is rough, but are we here for the story? The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry. The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we're hooked. From creepy zombie people's silhouettes on the skylight to the crazy paintings on Arletty's dad's studio, to the killing in the movie theatre, the images are designed to terrify. And speaking of that movie theatre scene, that's likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn't work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he's full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating. Regardless, it's a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost Katz in 2018 to ovarian cancer. We have a great conversation about this film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

While Gloria Katz and Willard Huyck wrote the script for American Graffiti for their USC chum George Lucas, they were working on a low budget horror film that they would produce, write, and direct together. This film was Messiah of Evil. Unfortunately for them, the producers took it away before they could finish filming. The producers hastily cut the project together and released a version in 1973, hoping it would make its money back. Because of that, Katz and Huyck largely dismissed the film for decades. Their attitude changed with time, and by the time the film's restoration for its 35th anniversary rolled around, they recognized the film was peculiar but had its fans and its strengths. Join us – Pete Wright and Andy Nelson – as we kick off our ‘Horror Debut' series with Katz's and Huyck's 1973 horror film Messiah of Evil. What works in Messiah of Evil and what doesn't? Katz and Huyck delivered a script that is a bit of a mess when you look at the story, but can we look past that? Perhaps if Katz and Huyck had been able to finish it their way. Then again, who knows? They did make Howard the Duck. So, we have to look at the film as what we have here. And honestly, the story may not be that strong, but it is definitely a horror tone poem. Katz, Huyck and team created a strong mood and tone for sure. Pete struggles a bit more with this tone because he felt like he'd been set up for more slasher killings. The film starts with several brutal murders, after all, before it shifts into less overt, bloody killings. But the film gets under Andy's skin, which he really likes. He feels it's enough. He thinks the film is excelling at creating a vibe that's hard to shake. We try tackling the story to see if we can sort out what we're meant to get from it. Because the story is more vague and ill-defined, it's tricky. There's a lot of guesswork in here on our parts. We think we have it sorted out, but again, this speaks to the problems with the story as it was constructed for this finished film. The story is rough, but are we here for the story? The colors, scene construction, lighting, editing, music, production design and effects all lend tremendously to this mood. Again, is that enough? Regardless, how great is it seeing so many film artists in these roles that would go on to contribute so strongly to the industry. The artfulness with the visuals really speaks to us though. From the first out of focus shot of Arletty in the hallway as she walks toward camera and eventually into focus, we're hooked. From creepy zombie people's silhouettes on the skylight to the crazy paintings on Arletty's dad's studio, to the killing in the movie theatre, the images are designed to terrify. And speaking of that movie theatre scene, that's likely the strongest horror scene in the film. It builds the tension well and becomes truly terrifying. The grocery store is great too, but doesn't work quite as well as this. And it leaves the question – if these townspeople are mindless zombies eating whatever meat they can find, why does the albino leave her alone when he picks her up hitchhiking? Is it because he's full from eating rats? Or has the sickness not quite completely infected him? These are those story points that can be frustrating. Regardless, it's a great film selection to kick off our Horror Debuts series. It gives us a chance to talk about Gloria Katz and Willard Huyck, which is particularly touching having lost Katz in 2018 to ovarian cancer. We have a great conversation about this film so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Amazon, or find other places at JustWatch Original theatrical trailer Original poster artwork Flickchart Letterboxd

This week, join us as we discuss Willard Huyck and Gloria Katz's first film: the low-budget, art-house, dream-like Messiah of Evil. Although, it remained unfinished by the film-makers and was edited and scored under the direction of disgruntled investors, this produced some of the eeriest scenes in horror history. On this episode: an isolated gas station, albino truck driver, dueling voice-over narratives, travelling companions, beach-side bonfires, myth collecting, beach-rat delicacies, and zombies at your local town square, grocery store and movie theater.

Seguro que no sorprendemos a nadie si afirmamos que prácticamente todo el mundo citaría a George Lucas como el máximo artífice de lo que conocemos hoy como Star Wars, Guerra de las galaxias o la saga de Jar Jar Binks (esto último es un poco menos probable, claro). Bueno, igual no todo el mundo sabe quién es George, pero estamos seguros de que “el barbas ese” les sonaría de algo. Lo que seguro que menos gente sabe es que la primera película, La Guerra de las Galaxias: Episodio IV - Una nueva esperanza, fue un muy modesto proyecto (casi independiente), pero que contó con la colaboración de una pléyade de individuos que eran o serían el pináculo en cada una de sus profesiones. Hablamos de Ralph McQuarrie, John Barry, Dianne Crittenden o Willard Huyck y Gloria Katz, ilustres desconocidos para algunos, pero responsables máximos de que Mark Hamill fuera Luke, de que Darth Vader respire regular, de que el Halcón sea el pedazo de chatarra más rápido del Universo o de que Han sea capaz de imaginar muchas riquezas. Responsables, por resumir, de que Star Wars sea Star Wars. Este podcast trata de glosar las andanzas de estos profesionales del cine cuyas carreras y premios hablan por sí solos, pero que permanecen en el anonimato. Para ello, además de homenajear a nuestro secundario del cine español favorito (y que hubiera sido un Darth Vader sensacional, siempre lo afirmaremos), contamos con homólogos de nuestro cine para explicarnos qué hace un diseñador o diseñadora de producción o como se enfrentan los guionistas al borrador número 1.138. Para esta cara A tenemos el placer de conversar con Roger Bellés, diseñador de producción de Orígenes Secretos o Paquita Salas, Luis Fabra (guionista en La Resistencia) y Unai Cortajarena (guionista en la serie Impares) sobre cómo te puede bombardear el ejército español mientras ruedas o cuál es final bueno de La pequeña Tienda de los Horrores) Todo ello acompañados de 58 canciones editadas en 1977, el año de estreno de esta película, Alfredo Duro, un cordón de terciopelo y un útil acercamiento al precio de la fruta en algunas localidades de Madrid. Con todos ustedes, Lo Tengo Todo Documentado, el único podcast que por fin descubre quienes son los Pérez en Star Wars. (Nota: si escuchas esto en Spotify a través del móvil puedes ir directamente a cada sección pulsando el rango temporal entre paréntesis). Lista de canciones: https://bit.ly/LTTD_Epi7_canciones ▶️ Cara A Índice: 🗣️ Intro (01:59). ☑️ Ralph McQuarrie o cuando se te da un poquito bien lo de “un tres y un cuatro, la cara de tu retrato". (16:13). ☑️ John Barry y la galaxia que no pasa la prueba del algodón (01:06:04). 🎙️ "Diseño de producción y autopsias inversas" con Roger Bellés (1:32:05). ☑️ Dianne Crittenden, Irene Lamb y Vic Ramos y este tío no tiene pinta de carpintero (03:14:43). ☑️ Willard Huyck y Gloria Katz y “esto necesita más perro” (04:30:35). 🎙️ "Cómo acabar de una vez por todas con los guionistas" Con Luis Fabra y Unai Cortajarena (05:19:42). 🗣️ Despedida y hander (06:26:38).

TOP ! J’ai toujours faim même quand je viens de manger, j’ai des problèmes de peau qu’aucune crème anti-rides ne pourra régler et je suis la créature la plus répandue du cinéma d’horreur. Je suis, je suis ? Bravo, vous avez trouvé : le zombie. L’incontournable, l’indémodable, l’omniprésent mort-vivant, auquel l’équipe du PIFFFcast a voulu rendre hommage à l’occasion de la sortie d’Army of the Dead de Zack Snyder. Mais vous nous connaissez, pour honorer la bête, nous avons pris des chemins de traverse, qui vont du traumatisme de la guerre du Vietnam au surréalisme al’italiana en passant par… Howard le canard ! Avec Véronique Davidson, Cyril Despontin, Xavier Colon et Laurent Duroche. Réalisation : Xavier Colon Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo ► En écoute aussi sur Itunes : apple.co/2Enma9n ► Sur Deezer : www.deezer.com/fr/show/56007 ► Sur Spotify : open.spotify.com/show/4n3gUOfPZhyxL5iKdZIjHA ► Sur Youtube : https://youtu.be/WN1d14i2Ty4 ► La liste des films abordés dans les précédentes émissions : bit.ly/PIFFFcast-List ► Venir discuter avec nous du PIFFFcast : bit.ly/ForumPIFFFcast Dossier Zombies : - L'enfer des zombies de Lucio Fulci (1979) - La nuit des morts-vivants de George Romero (1968) - Zombie 3 de Lucio Fulci (1988) - Zombie de George Romero (1978) - White Zombie de Victor Halperin (1932) - La révolte des zombies de Victor Halperin (1936) - Vaudou de Jacques Tourneur (1943) - L'invasion des morts-vivants de John Gilling (1966) - Messiah of Evil de Willard Huyck et Gloria Katz (1973) - Vorace d'Antonia Bord (1999) - Suspiria de Dario Argento (1977) - Frayeurs de Luci Fulci (1980) - Let's scare Jessica to death de John D. Hancock (1971) - Le Mort vivant de Bob Clark (1974) - Black Christmas de Bob Clark (1974) - Children shouldn't play with dead things de Bob Clark (1972) - Zeder de Pupi Avati (1983) - Simetierre de Mary Lambert (1989) - L'échelle de Jacob d'Adrian Lyne (1990) - Combat Shock de Buddy Giovinazzo (1986) - Martin de George Romero (1977) - L'emprise des ténèbres de Wes Craven (1988) - Freddy sort de la nuit de Wes Craven (1994) - Dellamorte Dellamore de Michele Soavi (1994) - Le Syndrôme de Stendhal de Dario Argento (1996) - Dylan Dog, bande dessinée créée par Tiziano Sclavi - Bloody Bird de Michele Soavi (1987) - The Battery de Jeremy Gardner (2012) - After Midnight de Jeremy Gardner (2019) - I am a hero de Shinsuke Sato (2015) - The Dead de Jonathan Ford, Howard J. Ford (2010) - Overlord de Julius Avery (2018) - Bienvenue à Zombieland de Ruben Fleischer (2009) - Miss zombie de Sabu (2013) - Ne Coupez pas de Shin'ichirô Ueda (2017) - Zombi Child de Bertrand Bonello (2019) - The Girl with all the gifts de Colm McCarthy (2016) - Zombeaver de Jordan Rubin (2014) - Moi Zombie, chronique de la douleur de Andrew Parkinson (1998) - Thanatomorphose de Éric Falardeau (2012) - Colin de Marc Price (2008) - Zombie Honeymoon de David Gebroe (2004) - Melancholie der Engel de Marian Dora (2009) - Dead Creatures de Andrew Parkinson (2001) - Le retour des morts-vivants 3 de Brian Yuzna (1993) Les recos en vrac : - Lion's daughter "Skin Show" : https://thelionsdaughter.bandcamp.com/album/skin-show - Raised by Wolves (séries TV - Warner TV) - Alucarda de Juan López Moctezuma (1977) - The Empty Man de David Prior (2020)

We start this week by covering films from Wicked Queer, Boston's LGBTQ+ Film Festival (1:46). Evan reviews the Israeli picture KISS ME KOSHER, and Megan offers quick takes on drama SEE YOU THEN, horror film BLOODTHIRSTY, and psychological thriller NINA WU. Then we all discuss Christopher Smith's horror film THE BANISHING (10:53), a disappointingly by-the-numbers haunted house story. Next, we talk about Ricky Staub's moving Netflix coming-of-age tale CONCRETE COWBOY (26:08) starring Caleb McLaughlin and Idris Elba. We wrap up with Nikole Beckwith's TOGETHER TOGETHER (42:29), a charming dramedy about platonic love and surrogacy starring Ed Helms and Patti Harrison. And in this week's Patreon exclusive audio, we review a patron's choice, Willard Huyck and Gloria Katz's 1973 horror film MESSIAH OF EVIL.

This week on Bikini Drive-In, we discuss Gloria Katz and Willard Huyck's 1973 film, Messiah of Evil. Giallo-lite films, the uncanny & cults. Listen every Sunday at 4:00 pm on CKUW 95.9 fm. Questions or suggestions? Email bikinidrivein@gmail.com

Joe Keatinge is the Eisner Award-winning editor and writer behind so much good stuff, including Popgun, Shutter, Glory, Ringside, Stellar, Marvel Knights: Hulk, and Morbius: The Living Vampire. Find him at joekeatinge.com and support the Kickstarter for The BeBop #1, which includes his story, "Skull-Man: Man of a Thousand Skulls."Howard the Duck (©1986 Universal Pictures) was directed by Willard Huyck, with a screenplay by Huyck and Gloria Katz. It stars Lea Thompson, Jeffrey Jones, and Tim Robbins, plus a duck costume. George Lucas was the executive producer. The Marvel Comics adaptation, Howard the Duck the Movie #1-3, was adapted from the movie script by Danny Fingeroth, with art by Kyle Baker, ©1986 Marvel Comics. Here's the CBR.com article that Bryan was talking about, which features Kyle Baker and Joe Sinnott finishing the exact same page of John Byrne's layouts."Marvel by the Month" theme v. 2.0 by Robb Milne, sung by Barb Allen, with bass by Ryan ‘Biff’ Dudder. "Howard the Duck" performed by Lea Thompson, Dominique Davalos, Liz Sagal, Holly Robinson Peete (as Holly Robinson), produced by Thomas Dolby, and written by Thomas Dolby, Allee Willis, and George Clinton, ©1986 MCA.Visit us on internet at marvelbythemonth.com and follow us on Instagram at @marvelbythemonth.

In unserem Klassikermonat sehen wir uns als nächstes den ersten Marvel-Kinofilm der Geschichte an. Produziert von George Lucas, mit Lea Thompson (Zurück in die Zukunft) und Tim Robbins (Die Verurteilten) in den Hauptrollen. Das kann ja gar nicht schief gehen... Oder? ODER?!?!?

Let's go back to 1986 and talk HOWARD the Duck!!!! We dive back in time to find out if this cult classic is worthy of a watch in 2020. Is it actually the worst movie ever?Rob, Jon and host Stew are joined by Timboslice to review and discuss.Our Links

Sejam bem-vindos ao podcast The Witching Hour, comandado pela Michelle Henriques e pela Jéssica Reinaldo. Nesse podcast a gente fala de terror dirigido por mulheres! Nesse programa conversamos sobre o filme “Messiah of Evil”, da Gloria Katz e do Willard Huyck. Esperamos que gostem! Edição por Euller Felix  Sigam nosso Instagram!

Sejam bem-vindos ao podcast The Witching Hour, comandado pela Michelle Henriques e pela Jéssica Reinaldo. Nesse podcast a gente fala de terror dirigido por mulheres! Nesse programa conversamos sobre o filme “Messiah of Evil”, da Gloria Katz e do Willard Huyck. Esperamos que gostem! Edição por Euller Felix  Sigam nosso Instagram!

Kitty Green’s recent day-in-the-life drama THE ASSISTANT, starring Julia Garner as a new assistant to a Weinstein-like executive, is nowhere near the crowd-pleaser Mike Nichols’ 1988 corporate Cinderella story WORKING GIRL was, and its scenario places the film squarely within a very current cultural conversation; but taken together the two films provide an apt illustration of what has and hasn’t changed for women in the workplace in the last three decades. After digging into our surprisingly divided opinions on THE ASSISTANT and its would-be sympathetic protagonist, we look at these two films together to consider what they tell us about the evolution of women’s role in the workplace, the importance of office allies, and what the characters’ working wardrobes say about their respective ambitions. Plus, Your Next Picture Show, where we share recent filmgoing experiences in hopes of putting something new on your cinematic radar. Please share your comments, thoughts, and questions about WORKING GIRL, THE ASSISTANT, or anything else in the world of film, by sending an email to comments@nextpictureshow.net, or leaving a short voicemail at (773) 234-9730.  Your Next Picture Show: Keith: Willard Huyck and Gloria Katz’s MESSIAH OF EVIL Genevieve: FX on Hulu’s MRS. AMERICA Scott: Chantel Akerman’s JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES Tasha: Mike Nichols’ CLOSER Outro music: TLC, “His Story” Learn more about your ad choices. Visit megaphone.fm/adchoices

W pierwszym kolorowym filmie, jaki wyświetlamy w ramach wirtualnego Dead Night Cinema prezentujemy obraz niepokojący, dziwaczny, surrealistyczny, przypominający koszmar na jawie i dzieła Davida Lyncha z "Twin Peaks" oraz "Zagubioną autostradą" na czele. Za to nieobliczalne dzieło odpowiada małżeństwo Willard Huyck i Gloria Katz, po którym nie spodziewalibyście się tak intensywnego obrazu, jeżeli znacie ich ostatni wspólny film, jedną z pierwszych ekranizacji komiksu Marvela - "Kaczora Howarda".

On a very special episode of The Projection Booth, Bill Ackerman and Maitland McDonagh join Mike to discuss Willard Huyck and Gloria Katz's Messiah of Evil. Released under a number of titles (including The Second Coming), the film is a creepy, atmospheric horror film about a young woman who goes in search of her father only to find something far-more-sinister than she could have ever imagined.Learn more about your ad choices. Visit megaphone.fm/adchoices

On a very special episode of The Projection Booth, Bill Ackerman and Maitland McDonagh join Mike to discuss Willard Huyck and Gloria Katz's Messiah of Evil. Released under a number of titles (including The Second Coming), the film is a creepy, atmospheric horror film about a young woman who goes in search of her father only to find something far-more-sinister than she could have ever imagined.

THERE IS NO ESCAPE FROM THE FINAL CHAPTER... Gabe and special guest Patrick Ripoll from Tracks of the Damned are back and finishing what they started: an interminable look back at the slasher movies of 1981. The complete list includes 42 films that friends, colleagues, and random people on the internet consider to be slashers. The last episode is the shortest, including discussion of 13 movies – Hell Night (directed by Tom DeSimone), Don’t Go in the Woods (directed by James Bryan), Lady Stay Dead (directed by Terry Bourke), Absurd (aka: Rosso sangue, Monster Hunter, and Horrible, directed by Joe D’Amato), Just Before Dawn (directed by Jeff Lieberman), Strange Behavior (directed by Michael Laughlin), Hospital Massacre (directed by Boaz Davidson), Nightmares (directed by Romano Scavolini), Dark Night of the Scarecrow (directed by Frank De Felitta), Halloween II (directed by Rick Rosenthal), Saturday the 14th (directed by Howard R. Cohen), Madman (directed by Joe Giannone), and The Prowler (directed by Joseph Zito). Do note that after recording for 5 hours, the timing of our tracks and communications got a little off. The problem is mitigated to the best of Gabe’s editing ability, but there are still a few odd moments where reactions are off time. Listen to Part One here: https://www.genregrinder.com/podcast/episode/a8509064/episode-5-the-slasher-movies-of-1981-feat-patrick-ripoll-of-tracks-of-the-damned Listen to Part Two here: https://www.genregrinder.com/podcast/episode/e24daa65/episode-5-part-2-the-slasher-movies-of-1981-feat-patrick-ripoll-of-tracks-of-the-damned Listen to Patrick and Bill Ackerman talk about Gloria Katz and Willard Huyck’s Messiah of the Evil as part of the Tracks of the Damned podcast: http://www.nowplayingnetwork.net/tracksofthedamned/s1e6 Follow along with the complete list here: https://letterboxd.com/gabepowers/list/1981-slasher-movies/

Go back to the very first theatrically released feature length film based on a Marvel Comic. Back then things where... a little bit different. That Film Stew's Luke and Damian are talking all things Howard the Duck - from comics to the 1986 movie. You may have caught his cameos in the Guardians of the Galaxy movies, or even spotted him in Avengers: Endgame. Perhaps you're looking forward to the upcoming Hulu series, or maybe you're just wondering who the quack is this duck? The movie is directed by Willard Huyckand and stars Lea Thompson, Jeffrey Jones, and Tim Robbins. Produced by Gloria Katz, with George Lucas as executive producer, Howard the Duck follows a sarcastic humanoid duck who is plucked from Duck World to Earth where he must stop a hellish alien invasion with the help of a nerdy scientist and a cute struggling female rock singer.

Hosts: Stephen & Danielle with the Midnight Hounds: Xena, Duke, Rusty and Morty PG 13 On episode 3 we start talk about news related to Star Wars till the 17 minute mark or so then a new edition of Hollywood Holocrons remembering Gloria Katz. From 25 minute mark till the end of the show we enter the Conjecture Cave and discuss how large we think the time jump will be from the TLJ to Episode 9. Click to Dani's mood board Thread Click to the Organa Digest Podcast    Email the show: rebelorderpod@gmail.com Support Smash.Miami and see how you can help and have fun! Throw us some Ko-fi money to support our efforts!  Check out the hosts Force Awakens Wedding Proposalwith the great band the Magic City Hippies. Catch us Mondays on our Internet Radio home the Radioactive Underground RADIATE.FM Tweet the Show: @RebelOrderPod, or @Vundablog or @Vundacast Subscribe on iTunes, GooglePlay, Or Stitcher Join us on Facebook visit our home Vundablog.com

Hosts: Stephen & Danielle with the Midnight Hounds: Xena, Duke, Rusty and Morty PG 13   On episode 3 we start talk about news related to Star Wars till the 17 minute mark or so then a new edition of Hollywood Holocrons remembering Gloria Katz. From 25 minute mark till the end of the show we enter the Conjecture Cave and discuss how large we think the time jump will be from the TLJ to Episode 9.  Click to Dani's mood board Thread Click to the Organa Digest Podcast    Email the show: rebelorderpod@gmail.com    Support Smash.Miami and see how you can help and have fun! Throw us some Ko-fi money to support our efforts!  Check out the hosts Force Awakens Wedding Proposalwith the great band the Magic City Hippies. Catch us Mondays on our Internet Radio home the Radioactive Underground RADIATE.FM Tweet the Show: @RebelOrderPod, or @Vundablog or @Vundacast Subscribe on iTunes, GooglePlay, Or Stitcher Join us on Facebook visit our home Vundablog.com

In remembrance of Gloria Katz, we watched American Graffiti, George Lucas' 2nd film in the directors's chair. Tyler, Mike and Jonny wated it on three seperate nights, and have come to some interesting theories. . . . Youtube: Chatter SquadronFollow Chatter Squadron on   Instagram: @ChatterSquadron Twitter: @ChatterSquadron Facebook: Chatter Squadron - A Star Wars Podcast Subscribe to the show on iTunes, Spotify, and anywhere else you find great podcasts!

In our last episode before our holiday break, I catch up with Official IndyCast correspondent Mitch Hallock and take a look back at the year as well as what you might wish to put under an Indy fan's Christmas tree, The Further Adventures Joe Stuber talks with artist Alex Ross, Ron pays tribute to screenwriter Gloria Katz, Chris A returns with IJ in the UK, Morgan and Rich are back with the Expanded Archives of Doctor Jones and we have lots more!

In our last episode before our holiday break, I catch up with Official IndyCast correspondent Mitch Hallock and take a look back at the year as well as what you might wish to put under an Indy fan's Christmas tree, The Further Adventures Joe Stuber talks with artist Alex Ross, Ron pays tribute to screenwriter Gloria Katz, Chris A returns with IJ in the UK, Morgan and Rich are back with the Expanded Archives of Doctor Jones and we have lots more!

We are back baby! Alex & Steve are well rested after being away for a few weeks. Which means they have plenty of stuff to talk about in the world of Star Wars. We also announce the winner of the #BSRISBACK Giveaway! We also owe all you rebels for making "CYBER MONDAY" a huge success! Because of you we get to keep making this show so THANK YOU! NEWS: This week we talk about Diego Luna reprising the role of Cassian Andor. Pedro Pascal and Gina Carano join the cast of The Mandalorian. We also discuss Disney's new streaming service Disney+. Oscar Isaac discusses Episode 9 filming and Carrie Fisher. Star Wars Kids YouTube Channel releases footage of the new animated shorts "Galaxy of Adventures." American Graffiti & Star Wars A New Hope script doctor Gloria Katz passed away. Disney Parks releases footage of Galaxy's Edge Millennium Falcon & Rise of the Resistance rides. Alex, Steve & Cisco rant about the best way to conquer Disneyland. In some very sad news Mr. Stevie is no longer overseeing Hasbro's Star Wars toy line. Now Available on iTunes: http://apple.co/2rj55oB Website: http://www.blackseriesrebels.com Support our channel: https://www.blackseriesrebels.com/shop/ Follow on Twitter: http://www.twitter.com/BlkSeriesRebels Follow Alex Backes: https://twitter.com/alex_backes Follow Stephen Ellis: https://twitter.com/RexManning All Tech work done by: Francisco Uranga Edited by: Peter Vega Black Series Rebels is presented by: Barely Sober Media Sponsors: Saber Bay: https://www.saberbay.com Capto: https://www.captoshop.com #sharkpop: https://www.wearesharkpop.com The opinions expressed in this video are those of hosts and or guests alone. Any reference to copyrighted materials is for the purpose of commentary and criticism only. Black Series Rebels is not affiliated with The Walt Disney Companies, Hasbro or their respective subsidiaries.

In our last episode before our holiday break, I catch up with Official IndyCast correspondent Mitch Hallock and take a look back at the year as well as what you might wish to put under an Indy fan's Christmas tree, The Further Adventures Joe Stuber talks with artist Alex Ross, Ron pays tribute to screenwriter Gloria Katz, Chris A returns with IJ in the UK, Morgan and Rich are back with the Expanded Archives of Doctor Jones and we have lots more!

In our last episode before our holiday break, I catch up with Official IndyCast correspondent Mitch Hallock and take a look back at the year as well as what you might wish to put under an Indy fan's Christmas tree, The Further Adventures Joe Stuber talks with artist Alex Ross, Ron pays tribute to screenwriter Gloria Katz, Chris A returns with IJ in the UK, Morgan and Rich are back with the Expanded Archives of Doctor Jones and we have lots more!

Join John Walsh and Stephen McLaughlin on This Week's Force Friday Show we discuss "The Mandalorian" Adds Nick Nolte to Cast, Disney+ ‘Rogue One' Series Enlists ‘The Americans' Alum Stephen Schiff as Show runner, Gloria Katz, 'American Graffiti' Writer and 'Star Wars' Script Doctor, Dies at 76, 'Star Wars: Episode IX' Rumored to Finally Feature the Knights of Ren and Columbia recreated the parka worn while filming The Empire Strikes Back. Your Hosts ‪Follow John: @Keltoi89‬ Follow Stephen: ‪@SJMcLaughlin76‬ Visit Movie Burner Entertainment: https://movieburnerentertainment.org Follow us on Twitter: https://twitter.com/MovieBurners Follow us on Facebook: https://www.facebook.com/MovieBurners Follow us on iTunes: https://itunes.apple.com/gb/podcast/t... Follow us on Instagram: https://www.instagram.com/movieburners/

This week we nail the murloc as we talk about the Ballad of Buster Scruggs, Mac and Me, The Card, Epometheus, John Wick, Halo loses its showrunner, Warner Streaming service finds its tiers, FTC to look into loot boxes, Fallout 76, Alexa, YouTube to ditch premium, Daredevil gets cancelled, Shang-Chi, DIE, Stephen Hillenburg and Gloria Katz, DCU grabs a Blue Beetle, Harry Potter and the Cursed Child breaks records, Star Trek: Lower Decks, and Torgo's a rude jerk to Maple Leaf. So get re-edited, it's time for a Geek Shock!

Its seems every day new information on The Mandalorian emerges, find out the new casting news on today's episode! Then we honor screenwriter and collaborator on A New Hope, Gloria Katz, and her Hollywood legacy. Then finally we discuss the infinite possibilities that are the reports coming from the set of Episode IX, what can we trust? . . . Youtube: Chatter SquadronFollow Chatter Squadron on   Instagram: @ChatterSquadron Twitter: @ChatterSquadron Facebook: Chatter Squadron - A Star Wars Podcast Subscribe to the show on iTunes, Spotify, and anywhere else you find great podcasts!

Marvel's Runaways Season 2 trailer from Hulu, Chilling Adventures of Sabrina adds three cast members, CW developing Super Clean series based on graphic novel, Gloria Katz passes away. See acast.com/privacy for privacy and opt-out information.

One of the great unsung voices in the creation of Princess Leia, the success of Star Wars, and the lineage of strong female action heroes, Gloria Katz passed away on Sunday. Today, we talk about her life and legacy. ***I'm listener supported! Go to http://Patreon.com/sw7x7 to donate to the Star Wars 7x7 podcast, and you’ll get some fabulous rewards for your pledge.***  Check out SW7x7.com for full Star Wars 7x7 show notes and links, and to comment on any of the content of this episode! If you like what you've heard, please leave me a rating or review on iTunes or Stitcher, which will also help more people discover this Star Wars podcast. Don't forget to join the Star Wars 7x7 fun on Facebook at Facebook.com/SW7x7, and follow the breaking news Twitter feed at Twitter.com/SW7x7Podcast. I'm also on Pinterest and Instagram as "SW7x7" too, and I'd love to connect with you there!

Episode fifty-seven is the final bite in PsychotroniCast's Cannibal Series. Released in 1973 and starring Marianna Hill (The Baby, High Plains Drifter), Messiah of Evil is a low budget masterpiece of mood and atmosphere. Taking inspiration from the booming art house films of the 1960's director/writer duo: Willard Huych and Gloria Katz (the writers behind American Graffiti, Indiana Jones and the Temple of Doom, as well as Howard the Duck) infuse their directional debut with a healthy dose of H.P. Lovecraft and Michelangelo Antonioni turning their locations of Malibu, Burbank and Los Angeles into a gothic vision of southern California that looks forward to the mysterious world of David Lynch.

“The Real Fans of the Saga” is a fresh new fandom reality show from our old friend Cris Macht and friends. Cris joins us in the studio this week to give us the behind-the-scenes deets about “Real Fans” and more. “40 Years of Star Wars: Through The Decades” is an amazing new Star Wars documentary produced by The Decades Network, hosted by Bill Kurtis and featuring Jimmy Mac. We review the show and feature highlights. Plus, new leaks from the productions of THE LAST JEDI and the HAN SOLO standalone and an early look at some Episode VIII LEGO minifigs that offer our first look at Snoke and other characters. And, we look at an interview with original Star Wars script contributor Gloria Katz, we have a discussion about the new Marvel Comics “Darth Vader” title, we go off again about spoilers coming from official sources and more.

Episode 69 gets “Women in Horror Month” started right. You guessed it, “Messiah of Evil” (1973) was co-written, co-produced and co-directed by Gloria Katz and her husband, Willard Huyck. And, although they went on to assault you with "Howard the Duck", they were also kind enough to write screenplays for "American Graffiti” and “Indiana Jones and the Temple of Doom”. So there. But, before getting into all of that, your hosts muse over why certain movies are shown on certain holidays. “The Ten Commandments” is not an Easter story any more than “African Queen” is a Thanksgiving tale. But what about "Teen Christ”? Wouldn’t that be interesting? Or “Teen Pope”? We just wonder how his basketball skills will work out. And, on that note- Jolyon has Vatican travel tips for you. Richard saw a cannibal movie. He also wants you to know that if an animal is smarter than you, don’t kill it! Speaking of cannibals, Will wonders what kind of hats they wore to the Donner Party? Your hosts get on track discussing this hidden gem and talk about where it gets it right and what was missing. We’ll answer the age old question. “Is a suspended bed surrounded by paintings of ghouls a relaxing place to sleep?” So, put on your running shoes and make a mad dash into a fun episode! Find us on Instagram, where we are @chewingthescenery or easily find us on Facebook. Chewing the Scenery can be found on Soundcloud, iTunes and Stitcher. Please rate, review and subscribe- it really does help listeners find us! #horror #horrormovies #horrornerd #horroraddict #horrorjunkie #monsterkid #bmovie #scarymovies #monstermovie #podcast #chewingthescenery #everydayishalloween #zombies #zombie #VHS #moviemonsters #freepodcast #denver #colorado #creaturefeature #creaturefeatures #messiahofevil #ghouls #womeninhorror #gloriakatz

A young woman goes searching for her missing artist father. Her journey takes her to a strange Californian seaside town governed by a mysterious undead cult.Directors: Willard Huyck, Gloria Katz (uncredited)Writers: Willard Huyck (screenplay), Gloria Katz(screenplay)Stars: Michael Greer, Marianna Hill, Joy Bang - via IMDB https://archive.org/details/MessiahofEvil_avi

The Movie Geeks celebrate the 30th anniversary of Howard the Duck with director Williard Huyck and writer/producer Gloria Katz.  Support this podcast

The Movie Geeks celebrate the 30th anniversary of Howard the Duck with director Williard Huyck and writer/producer Gloria Katz. 

Nuestro compañero Javier J. Valencia nos la descubrió en el primer top de películas raras que hicimos en esta casa. Y cabe decir que un servidor acabó enamorado de esta extraña pesadilla inconexa de tintes lovecraftianos filmada por dos importantes componentes de lo que sería en un futuro Lucasfilm. Acompañadme si os atrevéis a la misteriosa ciudad de Point Dune en donde encontraréis negros albinos, pinturas extrañas, chicas guapas, zombis que lloran sangre y una luna teñida de rojo. Y además, como el film está en dominio público podemos ofrecéroslo por aquí. Raro, raro.

In this episode of The Forgotten Flix Podcast, we’re celebrating the 35th anniversary of the ORIGINAL Star Wars in all its “non-Special-Edition-Han-didn’t-just-shoot-first-he’s-the-only-one-who-shot-dammit glory”!!! So, join us, and special guest Darrell Taylor, for this, um, interesting take on the movie that might be most directly responsible for a CND pandemic. Directed by: George Lucas Screenplay by: George Lucas (and Gloria Katz…Read more →