Podcasts about Golden Harvest

An adventurer who's been inflicted by a deadly curse during a previous expedition to Thailand goes back to battle an evil sorcerer, his tribal army, and his evil curses. On this week's episode… Join the crew as we discuss martial arts, blood hexes, and exactly how many juiced children it takes to perform a ghost nursing ritual in, The Seventh Curse (1986).   Show Notes: Housekeeping (3:50) Back of the Box/Recommendations (12:20) Spoiler Warning/Full Review: (17:50) Rotten Tomatoes (63:05) Cooter of the Week (66:50) What We've Been Watching (73:47) Hotline Scream: (84:50)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

Syngenta's latest corn trait stack for corn rootworm protection was approved the U.S. Environmental Protection Agency and will be broadly available in hybrids from both Golden Harvest and NK brands and through independent seed companies for the 2027 season. Cyndi Young spoke with Drew Showalter, Corn Portfolio Head for Syngenta Seeds, North America at the 2025 Commodity Classic.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

This afternoon's coverage of Commodity Classic is sponsored by Golden Harvest. We talk with Growth Energy CEO Emily Skor about her optimism that this is the year for E15. And USDA chief economist Seth Meyer joins us for a conversation on the ag economy. Plus we speak with Golden Harvest team members about some new products.See omnystudio.com/listener for privacy information.

With a continuous need to produce more with less in the grain industry, one company has shifted focus to specific areas when developing corn seed. Rex Gray, the Golden Harvest, GHX, corn products manager gives a look at the new seed they have developed that is meant for northern states. Gray explains that with shorter growing seasons and colder weather that they wanted to make sure producers in the north get the best corn crop that they can. After the 7 years of development, they are ready to unveil their new line of hybrids which include the Hawk, the Grizzly, and the Wolf. Each one has specific trait packages designed to help northern producers get the highest yield possible.See omnystudio.com/listener for privacy information.

Comedian Brett Mercer joins the show to discuss the classic 1990 Golden Harvest production, Teenage Mutant Ninja Turtles. Watch Brett Mercer: Not Special on YouTube starting December 2nd. Follow Brett on Instagram: @brett_mercer_ Follow Johnny on Instagram and Tik Tok: @JohnnyMocnyComedy Follow Johnny on Letterboxd: @JohnnyMocny --- Support this podcast: https://podcasters.spotify.com/pod/show/we-are-movies/support

On this episode, we take a look at news headlines and also hear from Golden Harvest soybean product manager, Ryan Dunsbergen, about what he's excited for in their 2025 lineup during the Farm Progress Show.

Fluent Fiction - Japanese: Golden Harvest: A Tale of Sibling Bonds and Dreams Find the full episode transcript, vocabulary words, and more:fluentfiction.org/golden-harvest-a-tale-of-sibling-bonds-and-dreams Story Transcript:Ja: 秋の風が優しく吹き、田んぼの稲穂がさらさらと音を立てていました。En: The autumn breeze blew gently, and the rice stalks in the fields swayed with a soft rustling sound.Ja: ここは日本の田舎、黄金色に輝く稲田が広がる静かな谷です。En: This was the Japanese countryside, a quiet valley filled with golden rice paddies.Ja: ハルトは農道を歩きながら、遠くを見つめていました。En: Haruto walked along the farm road, staring off into the distance.Ja: 「もうすぐ収穫の時期だ」と、自分に言い聞かせるように思いました。En: "The harvest season will soon be here," he thought, as if reassuring himself.Ja: しかし、心の中には別の心配事が渦巻いていました。En: However, another worry was swirling in his heart.Ja: それは妹のメイが今日訪ねてくることです。En: His sister Mei was visiting today.Ja: メイは都会での生活を選び、ここを離れて数年経ちました。En: Mei had chosen life in the city, and several years had passed since she left.Ja: 彼女が田舎を去った日、ハルトはその背中を遠くから見送ることしかできませんでした。En: On the day she departed from the countryside, Haruto could only watch her back from afar.Ja: 自分は農場を守るためにここに残ったが、一人では限界があると感じていました。En: He stayed behind to protect the farm, but he felt he was reaching his limits alone.Ja: 実は、妹に手伝ってほしいと思っていました。しかし、どうやってそれを伝えるべきか悩んでいました。En: In truth, he wanted his sister to help, yet he was troubled about how to convey this.Ja: その頃、メイはバスから降り、黄金色の田んぼを見て立ち止まりました。En: Meanwhile, Mei got off the bus and paused to look at the golden fields.Ja: 「懐かしいな」と心の中で呟きました。En: "It's so nostalgic," she murmured to herself.Ja: 都会では味わえない静けさと秋の香りが彼女を包み込みました。En: Wrapped in the tranquility and autumn scent, things she could never experience in the city, she felt a slight hesitation about meeting her brother.Ja: 彼女は兄に会うことに少し気後れしていました。家族を大事にしたい気持ちと、自分の夢を追いかけたい気持ちが交錯していたからです。En: She was torn between her desire to cherish her family and her wish to pursue her dreams.Ja: ハルトとメイは、農場の縁にある家の前で再会しました。En: Haruto and Mei met again in front of the house on the edge of the farm.Ja: 「メイ、久しぶりだな」とハルトが言いました。En: "Mei, it's been a while," Haruto said.Ja: 「元気にしてた？」メイは微笑んで答えました。「うん、元気だよ。En: "How have you been?" Mei smiled and replied, "Yes, I've been good.Ja: 兄さんも元気そうね。」En: You look well too."Ja: その夜、村では月見祭りが開かれました。En: That night, the village held the moon-viewing festival.Ja: 満月が空に輝き、灯籠が田んぼを照らしています。En: The full moon shone brightly in the sky, lanterns illuminating the fields.Ja: ハルトとメイは祭りの人混みを抜け出し、静かな場所に座りました。En: Haruto and Mei slipped away from the festival crowd and sat in a quiet spot.Ja: 「メイ、実は話があるんだ」とハルトが切り出しました。En: "Mei, there's something I need to talk about," Haruto began.Ja: 「農場のこと、手伝ってほしい。収穫の時期は特に大変なんだ。」En: "I need help on the farm, especially during harvest season.Ja: メイは黙ってその言葉に耳を傾けました。En: It's really tough." Mei listened silently.Ja: 「都会の生活も好きだろ？ だから、無理強いはしたくない。」En: "I know you like city life, and I don't want to force you."Ja: メイは心の中で葛藤していました。En: Mei was conflicted inside.Ja: でも、兄の真剣な目を見て、意を決しました。En: But looking into her brother's earnest eyes, she made up her mind.Ja: 「兄さん、考えたの。En: "Brother, I've thought about it.Ja: 毎年、収穫の時期だけ手伝いに来るのはどうかな？En: How about I come help out just during the harvest season every year?Ja: その代わり、普段は都会で夢を追い続ける。」En: In exchange, I'd keep pursuing my dream in the city the rest of the time."Ja: ハルトはその提案を聞き、少し驚きましたが、すぐに微笑みました。En: Haruto was a bit surprised by her suggestion, but then he quickly smiled.Ja: 「それはいい案だ。En: "That's a great idea.Ja: ありがとう、メイ。En: Thank you, Mei.Ja: それならお互いにとって良い選択だな。」En: It's a good choice for both of us."Ja: 月が二人を優しく見守っていました。En: The moon gently watched over them.Ja: お互いの気持ちを理解し合い、将来に向けて新たな約束を交わすことができたのでした。En: They were able to understand each other's feelings and make a new promise for the future.Ja: ハルトは変化を受け入れ、メイの夢を応援する気持ちを持つことに決めました。En: Haruto decided to embrace change and support Mei's dreams.Ja: そして、メイは家族と自分の夢、両方を大切にする道を見つけたのでした。En: And Mei found a path where she could cherish both her family and her dreams. Vocabulary Words:breeze: 風stalks: 稲穂swayed: 揺れrustling: さらさらと音valley: 谷paddies: 稲田harvest: 収穫swirling: 渦巻いてdeparted: 去ったconvey: 伝えるpaused: 立ち止まりnostalgic: 懐かしいtranquility: 静けさhesitation: 気後れcherish: 大事にしたいpursue: 追いかけたいlanterns: 灯籠illuminating: 照らしていますconflicted: 葛藤してearnest: 真剣exchange: 代わりembrace: 受け入れsupport: 応援promise: 約束festival: 祭りfields: 田んぼhesitated: ためらいましたreassuring: 安心させるlimits: 限界torn: 交錯して

For early access to episodes (plus add'l goodies): https://www.patreon.com/thekungfugenius  To donate to my PayPal (thanks in advance): https://www.paypal.com/paypalme/citywt  This episode contains a partnership with Wing Chun Illustrated Magazine, which can now be purchased as a full-color paperback edition from twelve Amazon marketplaces, with free shipping for Prime members. It is also available digitally on iOS and Android devices.   - EPISODE NOTES In this episode, I finally get to a long-requested topic: the beef between Golden Harvest director Lo Wei and Bruce Lee.   The KFG  - LINKS/SOCIAL Come with me to Hong Kong in 2024: https://www.citywingtsun.com/ultimate-hong-kong-kung-fu-tour Get my latest book The Wooden Dummy (or any of my previous books): https://www.citywingtsun.com/shop  KFG Swag Shop (T-Shirts, Hoodies, Mugs, etc.): https://my-store-f24e4e.creator-spring.com/  DISCOUNTED- KFG T-Shirt - Limited Run - $29.95 (reg $34.95) City Wing Tsun Athletic Association: https://www.citywingtsun.com   To Train Wing Tsun in New York City: https://www.citywt.com   Follow me on Instagram: https://www.instagram.com/thekungfugenius    Follow me on Facebook: https://www.facebook.com/thekungfugenius    Follow City Wing Tsun on Facebook: https://www.facebook.com/citywt  The Kung Fu Genius Podcast: https://wtbuster.podbean.com/   - CONTACT Business email: citywtoffice@gmail.com Or write/send something to the Kung Fu Genius: Alex Richter 1024 Sixth Ave 5fl New York, NY 10018 U.S.A. Episode ideas and suggestions only accepted through Patreon or YouTube Memberships.  - SPECIAL THANKS Genius Supporters of the Kung Fu Genius: John Turnbull Andrew Vasilatos Micah Farris This episode was brought to you by (Baller/Closed Door Level): Mark Anderson Matty J Roberto Santiago Bradley K. Faulkner Francisco Ortiz Mark Perna Jack Chiu Topher Mowry (thatotherwingchunguy) Troy Battle Thank you to all of our Patreon supporters at the Previewer and Insider Levels! Crew -  Producer: Mikey Deane Co-Host: Dre Ison Editor: Andrew Lin Song “Kung Fu Genius”: Kess the MC

The Farm Progress Show is open in Boone, Iowa! Bob Quin caught up with Farm Progress Show Manager Matt Jungmann with some of the highlights of the first morning. He spoke with our broadcast host Don Van Houweling and Van Wall Equipment as well as morning programming host Scott Sloan and Titan Tire! Also during the show, we hear from influencer Laura Farms, Neal Borgmeyer and Lance Porter from Channel Seed, Tyler Williams from Foreground, Jamie Horton with DEKALB Asgrow Seed, and Ben Whaley from Golden Harvest!

One stage of Jackie Chan's career comes to an awkward conclusion in FEARLESS HYENA 2, with producer Lo Wei taking old footage (from the first Fearless Hyena, along with some bits from Spiritual Kung Fu) along with some a few new scenes filmed before Jackie's controversial move to Golden Harvest to create something predictably incoherent. Filled with actors doubling Jackie (in disguise), pieces that don't quite fit together, and the introduction of Austin Wai as Tung, a mechanical genius with an automatic house, it makes for a bizarre and often baffling viewing experience without ever becoming entirely unwatchable. Have a listen and see if you agree! The post Episode 232 – We Do Our Own Stunts – Fearless Hyena 2 (1983) first appeared on Cinema Smorgasbord.

「香港電影史導論 Podcast第六集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」 討論大網： 1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。 在這第六集的podcast， 我們一共分開三節，在第三節，我們討論了以下內容：七十年代香港電影與台灣電影的關係如何？為何可以說是歷史上最緊密的時期？隨著粵語片停產，台灣電影進入香港市場，哪些作品受到了歡迎？許多台灣電影人來到香港註冊開公司，並在香港進行電影後期製作，原因是什麼？為什麼香港在這個年代的後期製作會受益於台灣電影的湧入？台灣電影在香港是如何沒落的？這與香港在自由氣氛下爆發的創作力有何關係？香港在自由的環境下，如何超越台灣影人的作品？ 「南下影人」在七十年代還有發展嗎？香港電影業界與外國（主要是美國）電影業界有哪些聯繫？雙方自六十年代開始交流後對香港電影製作有什麼影響？七十年代，不少片場倒閉，取而代之的是租借器材公司，例如沙龍，為什麼會出現這種現象？對電影業有什麼貢獻？--------- Outline of Introduction to Hong Kong Film Industry Podcast Part 6 About this series of podcasts, please check here. Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition" At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story. In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry. In this sixth episode of the podcast, we divided our discussion into three segments. In the third segment, we covered the following topics:How were Hong Kong and Taiwanese films related in the 1970s, and why can this period be considered the closest in history?With the cessation of Cantonese films, Taiwanese films entered the Hong Kong market. Which works were well-received?Why did many Taiwanese filmmakers come to Hong Kong to register companies and conduct post-production work there? Why did Hong Kong's post-production industry benefit from the influx of Taiwanese films during this period?How did Taiwanese films decline in Hong Kong, and how is this related to the creative explosion in Hong Kong's free atmosphere? How did Hong Kong surpass Taiwanese filmmakers' works in a free environment?Did "Filmmakers from Mainland China" continue to develop in the 1970s?What connections existed between Hong Kong's film and foreign (mainly American) film industries? What impact did their interactions since the 1960s have on Hong Kong film production?In the 1970s, many film studios closed down and were replaced by equipment rental companies, such as Salon. Why did this phenomenon occur, and what contributions did it make to the film industry? ****************** Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

「香港電影史導論 Podcast第六集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」 討論大網： 1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。 在這第六集的podcast， 我們一共分開三節，在第二節，我們討論了以下內容：李小龍猝死之後，嘉禾是如何渡過難關呢？七十年代，香港社會從傳統走向現代，而電影圈正是這種社會變遷的縮影。嘉禾是如何在這個轉變中超越邵氏的？嘉禾擁有眾多巨星，其中洪金寶、許冠文、吳宇森、成龍的影響有多大？什麼是諧趣功夫片？有哪些著名作品？它們如何影響了《功夫熊貓》？諧趣功夫片如何使粵語電影成為香港電影的主流？除了嘉禾，七十年代還湧現了不少獨立電影製作公司，他們有哪些人？又有哪些作品？ Outline of Introduction to Hong Kong Film Industry Podcast Part 6 About this series of podcasts, please check here. Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition" At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story. In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry. In this sixth episode of the podcast, we divided our discussion into three segments. In the second segment, we covered the following topics: How did Golden Harvest overcome the difficulties following Bruce Lee's sudden death?In the 1970s, Hong Kong society transitioned from traditional to modern, with the film industry reflecting this social change. How did Golden Harvest surpass Shaw Brothers during this transformation?Golden Harvest had many stars. How significant were the influences of Sammo Hung, Michael Hui, John Woo, and Jackie Chan?What are comedy kung fu films? What are some famous works, and how did they influence "Kung Fu Panda"?How did comedy kung fu films help Cantonese-language movies become mainstream in Hong Kong?Besides Golden Harvest, many independent film production companies emerged in the 1970s. Who were involved, and what works did they produce? ****************** Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

「香港電影史導論 Podcast第六集」討論大網 有關這系列的Podcast, 詳情請看這裡。 第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」 討論大網： 1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。 在這第六集的podcast， 我們一共分開三節，在第一節，我們討論了以下內容：嘉禾成立的背景，主人的背景是什麼？話事鄒文懷從邵氏帶走了些什麼人？出走的原因又是什麼？張徹本伴隨鄒氏出走，但最後為什麼沒有呢？李小龍這一名巨星的出現，是如何拯救了嘉禾呢？功夫片自李小龍出現後成賣座電影，跟從前的武俠電影有什麼分別呢？何謂真正的功夫片？嘉禾衛星公司是什麼？嘉禾是如何利用省減成本開支呢？ --------- Outline of Introduction to Hong Kong Film Industry Podcast Part 6 About this series of podcasts, please check here. Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition" At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story. In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry. In this sixth episode of the podcast, we divided our discussion into three segments. In the first segment, we covered the following topics: The background of Golden Harvest's establishment: What is the background of its founders? What personnel did Raymond Chow take with him from Shaw Brothers? What were the reasons for the departure?Chang Cheh initially planned to leave with Raymond Chow but ultimately did not—why was that?How did the emergence of the superstar Bruce Lee save Golden Harvest?How did kung fu films become box office hits after Bruce Lee's appearance, and how did they differ from the earlier wuxia films?What defines a true kung fu film?What was Golden Harvest's satellite company, and how did Golden Harvest utilize it to reduce costs? ****************** Follow the hosts: Kay Ho's Instagram: @kayho1430 Po Fung's Facebook: https://www.facebook.com/flash1030/ This episode is part of the "Preserve Yesterday - Back to Lee Theatre VR" project, which was a collaboration with the Hong Kong XR Museum. For more info, visit here: https://www.hongkongxrmuseum.org/lee-theatre-ticket. --- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments Powered by Firstory Hosting

The Golden Harvest is a 6,000-year old love story in which the filmmaker tries to understand the profound, often troubled, relationship between olive trees and the people of the Mediterranean, including her own father. It is a complicated romance, sometimes funny, sometimes tragic, set in a region that includes some of the poorest and most conflicted areas of Europe and the Middle East. Alia Yunis, Writer/Film Director, "The Golden Harvest", NYUAD In conversation with Jamal Rayyis, Wine and Food Writer

This week's pick is the 1972 Golden Harvest film One Armed Boxer. Jimmy Wang Yu wrote, directed and starred as the titular character who seeks revenge on the fighters that killed his master.

In 2023, Arrow Video released one of the most monumental physical media releases EVER. I truly mean that. Unfortunately, I believe that it was overlooked by many because of the subject of that box set has had many many releases on physical media over the years (including some titles being in the Criterion Collection). Today, we give it its due with a discussion on Bruce Lee at Golden Harvest with one of its main contributors- Brandon Bentley. -Follow Brandon on Facebook: https://www.facebook.com/brandon.bentley.56Follow Brandon on IG: https://www.instagram.com/oldpangyau/Follow Brandon on Twitter: https://twitter.com/OldPangYau-Buy The Physical Media Advocate (zine) on Amazon: https://l.linklyhq.com/l/1utJN-Become a patron here: https://www.patreon.com/DiscConnected-Disc-Connected: https://linktr.ee/discconnected-Someone's Favorite Productions: https://linktr.ee/someonesfavoriteproductions-Shelf Shock Rewind: https://linktr.ee/shelfshockrewind-Email: DiscConnectedMedia@gmail.com--Merch: https://www.teepublic.com/user/the-disc-connected-Podcast: https://www.spreaker.com/show/the-disc-connected-If you happen to be shopping on Amazon for something and would like to share some of Lord Bezos' profits with my channel at no additional cost to you, please consider shopping through my link: https://amzn.to/39mcX1t-Tip Jar: https://www.paypal.com/donate?hosted_button_id=TDEVSPJZ9EFCWorpaypal.me/RVinls (friends and family only)or Amazon wish list: https://www.amazon.com/hz/wishlist/ls/20CR2ZN456P1B?ref_=wl_share-Music is by Michael J. LeRose- michaelxcreates@gmail.com.Outro is K(NO)W by Crusoe via a Creative Commons Attribution License and verbal/written permission from the artist.-Links above may be affiliate/promotional links that provide me a tiny commission to support the site and do not charge the consumer anything extra.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-disc-connected--6024210/support.

Our first episode returning from paternity leave takes us back to 1983, and one of two sequel bombs Universal made with Jackie Gleason that year, Smokey and the Bandit Part 3. ----more----   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we'll be covering one of the oddest Part 3 movies to ever be made.   Smokey and the Bandit 3.   But before we do, I owe you, loyal listener an apology and an explanation.   Originally, this episode was supposed to be about the movies of H.B. “Toby” Halicki, who brought car chase films back to life in the mid-70s with his smash hit Gone in 60 Seconds. Part of the reason I wanted to do this episode was to highlight a filmmaker who doesn't get much love from film aficionados anymore, and part because this was the movie that literally made me the person I became. My mom was dating Toby during the making of the movie, a spent a number of days on the set as a five year old, and I even got featured in a scene. And I thought it would be fun to get my mom to open up about a part of her life after my parents' divorce that I don't remember much of.   And it turned into the discussion that made me question everything I became. Much of which I will cover when I find the courage to revisit that topic, hopefully in time for the 50th anniversary this July.   So, for now, and to kind of stick with the car theme this episode was originally going to be about, we're going to do a quick take on one of the most bizarre, and most altered, movies to ever come out of Hollywood.   As you may remember, Smokey and the Bandit was a 1977 hit film from stuntman turned director Hal Needham. Needham and Burt Reynolds has become friends in the early 1960s, and Needham would end up living in Reynolds' pool house for nearly a dozen years in the 60s and 70s. Reynolds would talk director Robert Aldrich into hiring Needham to be the 2nd unit director and stunt coordinator for the car chase scene Aldrich's 1974 classic The Longest Yard, and Reynolds would hire Needham to be his 2nd Unit Director on his own 1976 directorial debut, Gator. While on the set of Gator, the two men would talk about the movie Needham wanted to make his own directorial debut on, a low-budget B movie about a cat and mouse chase between a bootlegger and a sheriff as they tried to outwit each other across several state lines.   As a friend, Reynolds would ask Needham to read the script. The “script” was a series of hand-written notes on a legal pad. He had come up with the idea during the making of Gator, when the Teamster transportation captain brought some Coors beer to the production team. And, believe it or not, in 1975, it was illegal to sell or transport Coors beer out of states West of the Mississippi River, because the beer was not pasteurized and needed constant refrigeration.   Reynolds would read the “script,” which, according to Reynolds' 1994 autobiography My Life, was one of the worst things he had ever read. But Reynolds promised his friend that if he could get a studio involved and get a proper budget and script for the film, he would make it.   Needham would hire a series of writers to try and flesh out the notes from the legal pad into a coherent screenplay, and with a verbal commitment from Reynolds to star in it, he would soon get Universal Studios to to agree to make Smokey and the Bandit, to the tune of $5.3m. After all, Reynolds was still one of the biggest box office stars at the time, and $5.3m was small potatoes at the time, especially when Universal was spending $6.7m on the Super Bowl assassin thriller Two-Minute Warning, $9m on a bio-pic of General Douglas MacArthur, and $22m on William Friedkin's Sorcerer, an English-language version of the 1950 French novel The Wages of Fear.   Reynolds would take the lead as The Bandit, the driver of the chase car meant to distract the authorities from what the truck driver is hauling.    Jerry Reed, a country and western star, would get cast as The Snowman, the truck driver who would be hauling the Coors beer from Texarkana TX to Atlanta. Reed has only co-starred in two movies before, both starring Burt Reynolds, and even if they have almost no scenes together in the final film, their rapport on screen is obvious.   Sally Field, a television star who needed a big movie on her resume, would take the role of Carrie, the runaway bride who joins the Bandit in his chase car. Field had just completed Sybil, the dramatic television movie about a woman with multiple personality disorder, which would break Field out of the sitcom world she had been stuck in for the past decade.   Richard Boone, the star of the long-time television Western Have Gun - Will Travel, would be considered as the sheriff, Buford T. Justice, in pursuit of the Bandit throughout the movie, but Reynolds wanted some who was a bit more crazy, a bit more dangerous, and a heck of a lot funnier. And who wouldn't think of comedy legend Jackie Gleason?   Shooting on the film would begin in Georgia on August 30th, 1976, but not before some pencil pusher from Universal Studios showed up two days before the start of production to inform Needham and Reynolds that they needed to cut $1m from the budget by any means necessary. And the guys did exactly that, reducing the number of shooting locations and speaking roles.   The film would finish shooting eights weeks later, on schedule and on budget… well, on reduced budget, and when it was released in May 1977, just six days before the initial release of Star Wars, it bombed.   For some reason, Universal Studios decided the best way to open a movie about a bunch of good old boys in the South was to give it a big push at the world famous Radio City Music Hall in the heart of Manhattan, along with an hour long Rockets stage spectacular between shows.   The Radio City Music Hall could accommodate 6,000 people per show. Tickets for the whole shebang, movie and stage show, were $5, when the average ticket price in Manhattan at the time was $3.50. And in its first six days, Smokey and the Bandit grossed $125,000, which sounds amazing, until your told the cost of running Radio City Music Hall for a week, stage show and all, was $186,000. And in its second week, the gross would fall to $102,000, and to $90,000 in week three. And Universal would be locked in to Radio City for several more weeks.   But it wouldn't all bad news.   Universal quickly realized its error in opening in New York first, and rushed to book the film into 381 theatres in the South, including 70 in the Charlotte region, 78 in and around Jacksonville, 97 theatres between Oklahoma City and Dallas, another 57 between Memphis and New Orleans, and 79 in Atlanta, near many of the locations the film was shot. And in its first seven days in just those five regions, the film would gross a cool $3.8m. Along with the $102k from Radio City, the film's $3.9m gross would be the second highest in the nation, behind Star Wars. And despite bigger weekends from new openers like The Deep, The Exorcist II and A Bridge Too Far, Smokey and the Bandit would keep going and going and going, sticking around in theatres for more than two years in some areas, grossing more than $126m.   Naturally, there would be a sequel. But here's the funny part. Smokey and the Bandit II, a Universal movie, would be shot back to back with Cannonball Run, produced by the Hong Kong film company Golden Harvest as a vehicle to break their star Jackie Chan into the American market, which would also star Burt Reynolds and be directed by Hal Needham.    Filming on Smokey and the Bandit II was supposed to start in August 1979, but would be delayed until January 1980, because the film Reynolds was working on in the late summer of 1979, Rough Cut, went way over schedule.   While the budget for the sequel would be $10m, more than double the cost of the original film, the overall production was not a very pleasant experience for most involved. Needham was feeling the pressure of trying to finish the film ahead of schedule so he'd have some kind of break before starting on Cannonball Run in May 1980, because several of the other actors, including Roger Moore, were already locked into other movies after shooting completed on that film.   Burt Reynolds and Sally Field had started dating during the making of Smokey and the Bandit in 1976, and both of them signed their contracts to appear in the sequel in 1979, but by the time shooting started in 1980, the pair had broken up, and they were forced to pretend to be in love and be side by side in the Bandit's Trans Am for a couple months.   One of the few things that would go right on the film was a complex chase scene that could only be shot one time, for the end of the sequence would be the destruction of a 64 year old rollercoaster in suburban Atlanta.   They got the shot.   Needham would get a few weeks between the end of shooting Smokey and the Bandit II and the start of Cannonball Run, but the production on the latter film would be put on hold a couple times for a few days each, as Needham would have to go back to Los Angeles to supervise the editing of the former film.   Smokey and the Bandit II would make its planned August 15th, 1980 release, and would have a spectacular opening weekend, $10.8m from 1196 theatres, but would soon drop off, barely grossing half of the first film's box office take. That would still be profitable, but Needham, Reynolds and Field all nixed the idea of teaming up for a third film. Reynolds had been wanting to distance himself from his good old boy 1970s persona, Field was now an Oscar winning dramatic actress, and Needham wanted to try something different. We'll talk about that movie, Megaforce, another time.   But despite losing the interest of the main principles of the first two movies, Universal was still keen on making a third film. The first mention would be a line item in the Los Angeles Times' Calendar section on August 28th, 1981, when, within an article about the number of sequels that were about to gear up, including Grease 2 and Star Wars 3, aka Return of the Jedi, that Universal was considering a third Smokey movie as a cable television movie. In May 1982, Variety noted that the reduced budget of the film, estimated at under $5m, would not accommodate Reynolds' asking price at that time, let alone the cost of the entire production, and that the studio was looking at Dukes of Hazzard star John Schneider as a possible replacement as The Bandit. In the end, it was decided that Jackie Gleason would return not only as Sheriff Buford T. Justice, but that he would also be, in several scenes, playing The Bandit as well.   Thus would begin the wild ride of the third film in the Smokey and the Bandit Cinematic Universe, Smokey IS the Bandit: Part 3.   It would take 11 different versions of the script written over the course of six months to get Gleason to sign off, because, somehow, he was given script approval before filming would begin.   Paul Williams and Pat McCormick would return for a third time as Little Enos and Big Enos, and the storyline would find the Burdette father and son making a bet with Sheriff Justice. Justice and his son Junior must deliver a big stuffed swordfish from Florida to a new seafood restaurant they are opening in Texas. If Justice can get the big stuffed swordfish from Point A to Point B in the time allotted, the Burdettes will give him $250,000, which Justice could use towards his impending retirement. If he doesn't, however, Justice will have to surrender his badge to the Burdettes, and he'd retire in disgrace.   Dick Lowry, who had been directed episodic television and TV movies for several years, including three episodes of Buck Rogers in the 25th Century and the TV movie adaptation of Kenny Rogers' hit song The Gambler, would make his feature directing debut on Smokey Is the Bandit Part 3.   Production on the film would begin in Florida on October 25, 1982, and lasted two months, ending two days after Christmas, mostly in Florida.   Lowry and his team would assemble the film over the course of the next three months, before Universal held its first test screening on the studio lot in March 1983.   To say the screening was a disaster would be an understatement.   The audience didn't understand what the hell was going on here. They wondered how Justice, as The Bandit, could bed a character credited only as Blonde Bombshell, who looks at him the way women in 1982 would have looked at Burt Reynolds. They wondered why a plot twist in the very last scene was presented, that Dusty was really Big Enos's daughter, when it affected nothing in the story before or after its reveal. But, mostly, they were confused as to how one actor could play both title characters at the same time. Like, is Justice seeing himself as The Bandit, seeing himself behind the wheel of the Bandit's signature black and gold Pontiac Trans Am, and a beautiful country music DJ played by Colleen Camp as his companion, all while actually driving his signature sheriff's car with his son Junior as his constant companion?   The studio had two choices…   One, pony up a few extra million dollars to rewrite the script, and try to lure Reynolds back to play The Bandit…   Or, two, bury the movie and take the tax write off.   The second choice was quickly ruled out, as a teaser trailer for the film had already been released to theatres several weeks earlier, and there seemed to be some interest in another Smokey and the Bandit movie, even though the trailer was just Gleason, as Justice, standing in a military-style uniform, standing in front of a large America flag, and giving a speech to the camera not unlike the one George C. Scott gave at the start of the 1970 Best Picture winner, Patton. You can find a link to the teaser trailer for Smokey is the Bandit Part 3 on our website, at The80sMoviePodcast.com.   So the studio goes down to Jupiter, FL, where Reynolds had been living for years, and made him a sizable offer to play The Bandit for literally a couple of scenes. Since Gleason as Bandit only had one line in the film, and since most of the shots of Gleason as Bandit were done with wide lenses to hide that it wasn't Gleason doing any of the driving during the number of scenes involving the Trans Am and stunts, they could probably get everything they needed with Reynolds in just a day or two.   Reynolds would say “no” to that offer, but, strangely, he would agree to come back to the film, as The Bandit, for an extended sequence towards the end of the film. We'll get to that in a moment.   So with Reynolds coming back, but not in the capacity they wanted him in, the next thought was to go to Jerry Reed, the country singer and actor who had played Bandit's partner, The Snowman, in the first two films. Reed was amiable to coming aboard, but he wanted to play The Bandit. Or, more specifically, Cledus pretending to be The Bandit.   The film's screenwriters, Stuart Birnbaum and David Dashev, were called back in to do yet another rewrite. They would have only three weeks, as there was only a short window in April for the production team to get back together to do the new scenes with Reed and Colleen Camp. Dusty would go from being a country radio station DJ to a car dealership employee who literally walks off the job and into Cledus as Bandit's Trans Am. Reed's role as Cledus as Bandit was greatly expanded, and Dusty's dialogue would be altered to reflect both her new career and her time in the car with Cledus.   The reshoots would only last a few weeks, and Lowry would have a final cut ready for the film's planned August 12th theatrical release.   It is often stated, on this podcast and other sources, that in the 1980s, August was mostly the dumping ground of the studio's dogs, hoping to get a little bit of ticket sales before Labor Day, when families look at going on a vacation before the kids go back to school.   And the weekend of August 12th through 14th in 1983 was certainly one way to prove this argument.   Smokey and the Bandit Part 3 would be the second highest grossing new release that weekend, which is surprising in part because it would have a smaller percentage of prints out in the market compared to its competition, 498 prints, almost exclusively in the southern US. The bad news is that the film would barely make it into the Top Ten that weekend. Cujo, the adaptation of the 1981 Stephen King novel, would be the highest grossing new opener that weekend, grossing $6.11m, barely missing the top spot, which was held for a third week by the Chevy Chase film Vacation, which had earned $6.16m. Risky Business, which was making its young lead actor Tom Cruise a movie star, would take third place, with $4.58m. Then there was Return of the Jedi, which had been out three months by this point, the Sylvester Stallone-directed Saturday Night Fever sequel Staying Alive, the Eddie Murphy/Dan Aykroyd comedy Trading Places, the god-awful Jaws 3-D, WarGames and Krull, which all had been out for three to eleven weeks by now, all grossing more than Smokey and the Bandit 3, with $1.73m in ticket sales.   Having it much worse was The Curse of the Pink Panther, Blake Edwards' attempt to reboot the Inspector Clouseau series with a new American character who may or may not have been the illegitimate son of Clouseau, which grossed an anemic $1.64m from 812 theatres. And then there was The Man Who Wasn't There, the 3-D comedy featuring Steve Guttenberg that was little more than a jumbled copy of Foul Play and North by Northwest that arrived too late in theatres to ride the now-dead stereoptic movie craze, which took in $1.38m from 980 theatres.   In its second week, Smokey and the Bandit Part 3 would only lose five screens, but lose 52% of its opening weekend audience, bringing in just $830k that weekend.   Week three would see the film lose nearly 300 screens, bringing in just $218k.   Week four was Labor Day weekend itself, with its extra day of ticket sales, and you'd think Universal would just cut and run since the film was not doing great with audiences or critics. Yet, they would expand the film back to 460 theatres, including 47 theatres in the greater Los Angeles metro area. The gambit worked a little bit, with the film bringing in $1.3m during the extended holiday weekend, bringing the film's four week total gross to $5.02m.   And it would slowly limp along for a few more weeks, mostly in dollar houses, but Universal would stop tracking it after its fifth weekend in theatres, giving the film a final box office total of $5,678,950.   Oh, I almost forgot about Burt Reynolds. Burt did film his scene, a four minute or so cameo towards the end of the film, where Justice finally catches up to Cledus as The Bandit, but in Justice's mind's eye, he sees Cledus as Burt as The Bandit, where Burt as The Bandit does nothing more than half-ass read off his lines while sitting behind the wheel of the Trans Am.   I watched the movie on Paramount Plus back in January, when I originally planned on recording this episode. But it's no longer available on Paramount Plus. Nor is it available on Peacock, which is owned and operated by Universal, and where the film was once available. In May 2024, the only way to see Smokey and the Bandit is on long out-of-print low quality DVDs and Blu-Rays. JustWatch.com says the film is available on Apple TVs Showtime channel, but I can't find any Showtime channel on Apple TV, nor can I find the movie doing a simple search on Apple TV. The first two are on Apple TV, as part of the AMC+ channel. It's all so darn complicated.   But like I said, I watched it for the first and probably last time earlier this year. And, truth be told, it's not a totally painful film. It's not a good film in any way, shape or form, but what little good there is in it, it's thanks to Colleen Camp, who was not only gorgeous but had an amazing sense of comic timing. Anyway who saw her as Yvette the Maid in the 1985 comedy Clue already knows that.    Like a handful of film buffs and historians, I am still wildly interested in seeing the original cut of the film after more than forty years. If Universal can put out three different versions of Orson Welles' Touch of Evil, including a preview cut that was taken away from Welles and re-edited without his consent, in the same set, certainly they can release both versions of Smokey and the Bandit Part 3. But let's face facts. Dick Lowry is no Orson Welles, and there is practically zero calls for this kind of special treatment for the film.   I just find it odd that in this day and age, the only thing that's escaped from the original version of the film after all this time is a single image of Gleason as The Bandit, which you can find on this episode's page at our website.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Smokey and the Bandit Part 3, including links to Smokey and the Bandit fan sites that have their own wealth of materials relating to the movie, and a video on YouTube that shows about 20mins of deleted and alternate scenes used in the television version of the movie, which may include an additional shot from the original movie that shows Dusty riding in the back of Big Enos's red Cadillac convertible.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

IT'S HAPPENING. FINALLY!We are here with James Flower from Arrow Video, one of the Producers that are giving us incredible releases of some iconic films from history like Bruce Lee favorites, Barbarella, Hellraiser, Psycho, Robocop, Tremors, and so many more! There are LOTS of tidbits of information here that clear up misinformation over the last five years. If you have ever been a fan of Arrow Video or some of the titles that they have put out, I bet there is at least a couple nuggets of wisdom that you will enjoy. -Join the Easter Carnage Sale with up to 50% off from the Arrow Store! Sale ends April 22, 2004-

Amazing Cynthia Rothrock Martial Arts & Movie Legend Interview Martial arts and movie legend Cynthia Rothrock talks to movie specialist Andrew Staton about; How did Cynthia start in martial arts? When and how did she become involved in the movie business? Was she part of the West Coast Demonstration Team headed by Ernie Reyes Snr? Why did the search for the next Bruce Lee lead to her being signed? Was Corey Yuen the casting director for Seasonal Films from Hong Kong who chose her? Did she manage to maintain her undefeated place in the Forms Competition for 5 years? How did she progress from one movie to a full-time career? What was it like working with Michelle Yeoh? How tough was it working in the Hong Kong stunt/ fight world? Why is Lady Reporter/ Blonde Fury her favourite movie to have worked on? What was it like working with Golden Harvest in Hong Kong? How did Golden Harvest break into the western market? What was it like working with Robert Clouse and his style of directing from Enter The Dragon? Did Robert Clouse prefer to shoot the fight scenes in long shots? How did Richard Norton become involved in China O'Brien? How did Keith Cooke become involved in China O'Brien? How many takes were normal in Hong Kong fight scenes compared to in LA? Is it 50 takes versus 7 takes? What was it like to shoot with so many takes? How did she feel filming 2 movies, China O'Brien 1 and 2 at the same time? What was it like filming without stunt doubles and shooting so many physical takes? How did she break her finger in China O'Brien 1? What film split her internal ear open? Did they see Cynthia Rothrock / China O'Brien as the "Queen of Kung Fu, who will take over from Bruce Lee"? Did her success change the business for other women? How did Fred Weintraub get China O'Brien into the city parade? How did Robert Clouse refer to his time working with Bruce Lee? How is her production Black Creek progressing? Does she combine martial arts with cowboys? How did she cast so many great action stars? How did she manage to finance the film on Kickstarter? How does she support the film's many backers? Is China O'Brien 3 a possibility? How did a Stallone movie offer get in the way of an earlier China O'Brien 3? How on earth did she become involved in Santa's Summer House movie? How did she end up as Mrs Claus? Black Creek the movie can be found here on Kickstarter; Black Creek on Kickstarter Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week Ken welcomes director Michael Pressman (The Great Texas Dynamite Chase, Some Kind of Hero, Doctor Detroit, Teenage Mutant Ninja Turtles II The Secret of the Ooze) to the show.  Ken and Michael discus COVID binging, The Bear, Slow Horses, The Crown, Call My Agent, having a comedy background but gravitating towards drama, having difficulty knowing when TV Comedy is working, Bad News Bears, working for Roger Corman, Picket Fences, how executives don't understand funny, indie cinema, directing Vanilla Ice, special FX, non-Union shoots, Golden Harvest, Michael's father being blacklisted, David Pressman's directing career, The Actor's Studio, visiting Hollywood sets after the blacklist was lifted in the 60s, the early days of live TV, Cosmopolitan Theater, New York vs L.A., westerns, Car 54, Where Are You?, Phil Silvers, Bonanza, directing theater, how much ratings have changed, the strange nature of streaming, soap operas, Law and Order SVU, Grey's Anatomy, Chicago Hope, Dick Wolf, Richard Boone, loving Hitchcock, being a 70s film snob, art house cinema, French New Wave, cults to flops, studio interference, made for TV movies, Ingmar Berman, the studio system, how in person viewing returns, when tech companies want to be the movie business, shared experiences, midnight movies, Netflix, the gimmick of going live, the origins of TV Guide, Ken's collection, ten years of the podcast, the lost age of shows and hunting down Michael's father's work. 

Hello and welcome to the ZimmCast. I'm Chuck Zimmerman. Once again I learned all about what's new in the world of agribusiness for Syngenta during the Commodity Classic which was just held in Houston, TX. So this episode will feature interviews I did in the Syngenta booth.  Between Cindy and myself this was our 7th conference of the year. You can find virtual newsrooms from them all on AgNewsWire.com. In there are photos and lots of interviews. So, these are some interview I picked out to provide a good selection of topics from Syngenta: Eric Boeck, Regional Director North America Seeds at Syngenta; Liz Hunt, Sustainable & Responsible Business Head, Syngenta; Jim Shertzer, Head of Branded Marketing, Syngenta North America Seeds; Matt Dolch and Jared Benson, NK corn and soybean product managers; Kramer Farney, Golden Harvest head of marketing Next on the AgriBlogging Highway Cindy will be at the ACE DC Fly-in. I will be at the Agri-Pulse Ag & Food Policy Summit and National Ag Day activities. Then we will both be at the Agri-Marketing Conference in Kansas City, MO with a booth in the Connection Point. We launched ZimmComm publicly at the 2004 Agri-Marketing Conference. We are already celebrating 20 years since we created ZimmComm and “What a long, strange trip it's been.” BTW. I did see Grateful Dead live and in concert many, many years ago. That's the ZimmCast for now. I hope you enjoy it and thank you for listening.

After a less-then-fruitful experience in the US (filming THE BIG BRAWL and THE CANNONBALL RUN), Jackie returned to Hong Kong with a blank check from Golden Harvest and a chip on his shoulder. The result was plenty of bumps, bruises and 1982's DRAGON LORD, which serves as a transitionary period between the old-school kung fu films of his past and the stunt-heavy films (with higher production value) that would define his work in the 1980s. In this episode of WE DO OUR OWN STUNTS we break down the good and bad of DRAGON LORD, its two cuts, and the two bravura sequences within. LISTEN! The post Episode 211 – We Do Our Own Stunts – Dragon Lord (1982) first appeared on Cinema Smorgasbord.

In this week's episode of the Agri-Biz Show - sugarbeet producers are being reminded about an important change to their crop insurance options for the 2024 growing season, the North Dakota Grain Growers Association submitted comments on the Environmental Protection Agency's approach to regulating seeds treated with a pesticide, and agronomy news from Winfield United, Golden Harvest, AgriGold, and Benson Hill.  Hosted by Rusty HalvorsonSee omnystudio.com/listener for privacy information.

The Kung Fu Drive-In Podcast welcomes the creative team behind the martial arts adventure that harkens back to the days of the Shaw Brothers and Golden Harvest, SHADOW FIST 3: THE FINAL CHAPTER. We speak with Director, Bobby Samuels, Writer and Co-Director, Robert Jefferson, Action Designer and Producer, Angel Brophy, martial arts film legend, Ron Hall, and in her first US Podcast, martial artist and star, Roxalinda Vazquez!  FOLLOW R4 FILMS: https://www.youtube.com/@r4filmsllc116   SUPPORT THE KUNG FU DRIVE-IN PODCAST WITH A KO-FI: https://ko-fi.com/kungfudrivein We discuss, debate and dissect kung fu movies and martial arts cinema & tv, past, present, and future!  SPONSORS: www.tinboxsolutions.com OUTRO MUSIC: http://youtu.be/5zeRoGFft2s  by Justin H @KingofKungFuAMP

This time around on a S&A Quickie Review Lindsay takes a look at two John Woo Movies. Hand of Dead from 1976 and early Kung Fu Movie from Golden Harvest. And his latest movie Silent Night out in Australian Cinemas 7th of December. Listen to Schlock & Awe on your favourite Podcast App

Fearless Hyena 2 (1983): Movie Review from the Ray Taylor ShowShow topic: Explore the tumultuous production history of 'Fearless Hyena Part II' (龍騰虎躍), the 1983 Hong Kong martial arts sequel, in this episode of Ray Taylor's podcast. Directed by Chan Chuen and starring the legendary Jackie Chan, this film's creation was riddled with challenges, including Chan's departure from Lo Wei Motion Picture Company to Golden Harvest. Delve into the behind-the-scenes drama involving producer Willie Chan, triad blackmail threats, and the eventual resolution brokered by actor-director Jimmy Wang Yu. Ray Taylor examines how Lo Wei's use of stunt doubles, alternative takes, and reused footage from the first film led to a sequel that even Jackie Chan himself disapproved of. Join this captivating discussion about the complexities and controversies surrounding this martial arts action film.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/linksGenres: Comedy - Action

Fearless Hyena 2 (1983): Movie Review from the Ray Taylor ShowShow topic: Explore the tumultuous production history of 'Fearless Hyena Part II' (龍騰虎躍), the 1983 Hong Kong martial arts sequel, in this episode of Ray Taylor's podcast. Directed by Chan Chuen and starring the legendary Jackie Chan, this film's creation was riddled with challenges, including Chan's departure from Lo Wei Motion Picture Company to Golden Harvest. Delve into the behind-the-scenes drama involving producer Willie Chan, triad blackmail threats, and the eventual resolution brokered by actor-director Jimmy Wang Yu. Ray Taylor examines how Lo Wei's use of stunt doubles, alternative takes, and reused footage from the first film led to a sequel that even Jackie Chan himself disapproved of. Join this captivating discussion about the complexities and controversies surrounding this martial arts action film.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/linksGenres: Comedy - Action

Join us as we celebrate Halloween with a review of a little known Golden Harvest cult horror film: The Seventh Curse (1986). Loosely based on the popular Dr. Yuen series of Chinese novels about a globe trotting wealthy doctor, versed in the martial arts, and his confrontations with the supernatural, this highly entertaining adventure film from director Lam Ngai Kai (best known for the infamous Story of Ricky) features a talented cast of Hong Kong stars such as Chin-Sui Ho, Chow Yun-Fat, and Maggie Cheung; however, the real star of the show is arguably the picture's wild, thrill a minute, never ending spectacle, in which truly anything goes -- over the top martial arts and exciting gun play, anxiety inducing stunt work and cool creature effects, and a vast assortment of pulp adventure and horror tropes, from exotic locales, alluring damsels, trashy nudity, and insensitive stereotypes, to deadly blood cults, ancient curses, child sacrifices, and HR Giger inspired monsters -- anything goes so long as it entertains! Timestamps: [00:00] Intro / Discussion - Ragna Crimson, Homer's Die Hard (750 B.C.), Scavengers Reign [26:00] Review - The Seventh Curse (1986)

Inside Golden Harvest Studios Andrew Staton Andrew Staton renowned Bruce Lee authority talks about his several trips to Golden Harvest Studios in Hong Kong. He recounts his personal feelings; Cold-calling the studios, Meeting Russell Cawthorne and eventually being given a guided tour of the facilities Seeing the studios empty between productions Realising how it all fitted in between crowded domestic areas on Diamond Hill Sitting in the Screening Room, in the seat Bruce Lee used Meeting Jackie Chan And much more The studios have since been demolished to make way for more development. Learn more about your ad choices. Visit megaphone.fm/adchoices

We discuss Golden Harvest's Mr. Vampire series. Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as well as Will's MICHAEL AND US (@michael-and-us).

 Kramer Farney- Head of Marketing with Golden Harvest discusses the 50th Anniversary of Golden Harvest's inception and how it all started with 7 farm families back in 1973. Along with some new and expanded products.

Interviews with Kramer Farney, Golden Harvest head of marketing; NASCAR Driver Sammy Smith; Mary Kay Thatcher, senior lead for federal government relations at Syngenta; Eric Boeck, Regional Director North America for Syngenta Seeds; Sustainable Oils President Mike Karst; Matt Dolch, NK Corn Product Manager, and Jared Benson, NK Soybean Product Manager

A coming of age drama about four adopted brothers, and the surrogate father who raised them as his own. Their fear of rejection from society, and their father's haunted past, keep them hidden away from the outside world, though they long for a life of normalcy. With a passion for culture, the arts, and Italian cuisine, they hope to one day be able to experience the joys life has to offer, while being accepted by the citizens of New York City…. oh, and they just happen to be KICK-ASS NINJAS! That's right, this week Gavin and I are reviewing one of greatest comic book/martial arts/independent films ever made, the ORIGINAL ‘Teenage Mutant Ninja Turtles'! Directed by music video maestro Steve Barron and backed by martial arts production royalty in the form of Golden Harvest, this totally tubular 90's ninja flick is not your typical, franchise based film adaptation. Witty and lighthearted, yet equally as dark and gritty, this slickly shot and dynamically executed martial arts extravaganza is so much more than just a family friendly feature. With brilliant camerawork, editing, lighting, and a kick-ass score to boot, TMNT ascends genre cliches, and elevates itself to the level of a big-budget Hollywood blockbuster! Groundbreaking costumes and effects help accentuate the mesmerizing, visceral action of the turtles, whether they are battling Shredder and the Foot Clan, or dancing and chowing down on some delicious pizza! With how much of a personal influence the Ninja Turtles and this film in particular have had on us, this episode was an absolute blast to record! Don't forget to subscribe, download, like, and share with your friends! Thanks again for the continued support and we hope you enjoy! Cowabunga dudes!

Continuing their Summer Series on 90's Action Films, Mulder and Wolfie T are joined by John Grace from The Midnight Movie Cowboys podcast to discuss Jackie Chan and the film that made him a household name in America, Rumble in the Bronx (1995). Our typical episode format was thrown out the window for this episode for 2 reasons: 1) Rumble doesn't have much of a plot, rather a series of excuses for Action Set Pieces. 2) John is such a wealth of knowledge for most film topics, but especially Martial Arts Films and we didn't want to waste this opportunity to pick his brain. So listen in as we discuss Jackie's career, Golden Harvest, Michelle Yeoh, other players from the Asian Invasion of the 90's. And yeah, a little bit about Rumble in the Bronx.   You can find Mulder on Letterboxd HERE. Wolfie's can be found HERE. John's can be found HERE.  His Twitter can be found HERE. Be sure to check out The Midnight Movie Cowboys Podcast virtually anywhere you listen to podcasts. They are also on YouTube and can be found HERE.  Their website can be found HERE.

It's the SEASON 6 PREMIERE and the ReconCinemation team is kicking it off with a doozy! Joined by new special guest co-host writer/director Michael Lander, the team unites to look back at the epic that was Hal Needham's MEGAFORCE! The gang discuss how this unique film came to be, Golden Harvest's financial investment, the Hal Needham run from the late 70s through the early 80s, the casting of Barry Bostwick, and many, many points about the "plot." Plus, early memories of the film, the marketing tie-ins, what could have been, Henry Silva, flying motorcycles, thumb kisses, tight lycra suits & so much more!   Deeds not words... it's MEGAFORCE!   Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

New episode alert! This week, Gavin and I are discussing one of the most beloved Cantonese Kung Fu comedies of all time, the Golden Harvest classic ‘Knockabout'. Directed by and co-starring everyone's favorite martial arts filmmaker, Sammo Hung, and starring his younger Peking Opera brother, the extroardinary Yuen Biao, this tale of ruthlessness, righteousness, and revenge will leave your jaw on the floor with its absolutely incredible martial arts sequences! With a stellar supporting cast including a fantastic comedic turn from Leung Kar Yan (aka Beardy), an absolutely treacherous villain in Leung Kar Wing, and a plethora of other familiar faces from the era, fans of the genre are in for a real treat. Far more than your standard “Kung Fu flick”, ‘Knockabout' delivers in every aspect, including one HELL OF A FINALE, full of flips, kicks, falls, and…. jump rope?! You'll have to check it out to see for yourself! Don't forget to subscribe, download, like, and share with your friends! Thanks again for the continued support and we hope you enjoy!

On a landmark episode of WE DO OUR OWN STUNTS, Jackie Chan has signed a huge contract with Golden Harvest which promises creative and financial freedom, and he kicks things off with the 1980 kung-fu comedy THE YOUNG MASTER! While at the same time his old boss Lo Wei wants his now-bankable star back and is willing to work with Triads to make it happen. UH OH! It's a perilous time in Jackie's career and will soon push him off to America for a while, but in the meantime we can enjoy this enormously entertaining, fight-filled film which features Yuen Biao, Tuen Fend, Hwang In-Shik, and Shih Kien! CHECK IT OUT! The post Episode 171 – We Do Our Own Stunts – The Young Master (1980) first appeared on Cinema Smorgasbord.

City of Solitude - Wong Kar-wai's Fallen Angels In the very late 80s and early 1990s, Hong Kong Cinema was evolving from the wuxia epic swordplay films of the Shaw Brothers, Bruce Lee's explosion and evolution into Jackie Chan's Golden Harvest heyday, John Woo's police and crime epics, and the emergence of Wong Kar-wai - a director of intense visual and thematic beauty. This week Ibrahim & I discuss a visually stunning and poetic example of Wong's work; showcasing the after hours nights of 1990s Hong Kong, Wong's film looks at an assassin, his "manager", a recently escaped convict, and a series of questionable types that come into their lives. This is a beautiful film that Ibrahim & I loved and loved talking about. Take a listen and let us know what you think. 

Keith Cooke is one of action cinema's all-time greatest kickers. From his explosive triple kicks as Muay Thai instructor Prang in the cult classic, The King of the Kickboxers, to his turns in costume as Reptile and Sub-Zero in the 1990s Mortal Kombat movies, Cooke's poise, energy and talent marked him out as one of the most engaging breakout martial arts stars of the 1990s. It was a phone call from none other than Enter the Dragon producer Fred Weintraub that transformed Cooke's fortunes in Hollywood. A karate world champion and three-time 'Competitor of the Year', not to mention an expert in a range of martial arts styles, Cooke's first forays into action movies were small-scale, until Weintraub cast him as Dakota, the high-kicking Native American sidekick to China O'Brien in Cynthia Rothrock's USA debut. Co-produced by Golden Harvest in Hong Kong, the film and its sequel became huge hits in the highly lucrative straight-to-video market. Although his fans may know him from his iconic film roles, Cooke's real passion is teaching. He taught generations of fighters from his Brentwood school for nearly 30 years, until he was forced to close its doors during the Covid-19 pandemic. Now he is launching a new online training programme and product, called The Ring Workout, a system designed to help people maintain strength, definition and fitness by working on the most comprehensive muscle group - the core. Now aged 63, Keith seems as fit now as he ever was - so what's his secret? And given his extensive fight knowledge, what style does he think is the best? And how does the new Mortal Kombat movie stack up to the original films?LINKSThe Ring Workout: https://keithcookefitness.com/Keith Cooke on IMDb: https://www.imdb.com/name/nm0177455/Keith Cooke on Instagram: https://www.instagram.com/keithcookefit/Keith Cooke on Facebook: https://www.facebook.com/keithcookestudio/Keith Cooke profile on Kung Fu Movie Guide: https://bit.ly/ProfileKeithCooke'The King of the Kickboxers' (1991) review: http://bit.ly/KingOfTheKickboxers'Mortal Kombat' (1995) review: http://bit.ly/MortalKombat1995'Mortal Kombat: Annihilation' (1997) review: http://bit.ly/MortalKombatAnnihilation1997Episode page on Kung Fu Movie Guide: https://bit.ly/KeithCookeKFMGPod Hosted on Acast. See acast.com/privacy for more information.