Podcasts about grigson

Scott Mason talks with Ryan Hickey of the Hick and Nite radio show and the Blue Horseshoe podcast about former Indianapolis Colts general manager and current Jets general manager candidate, Ryan Grigson! Ryan discusses the situation Grigson walked into in 2012, what drove his early success, key hits and misses, factors that led to his downfall in Indianapolis, his legacy and how Colts fans fremember him, if he would be the right hire as the Jets' next general manager............and more! Check out the Play Like A Jet store and get your "Play Like A Jet" logo shirt RIGHT NOW! Hoodies, hats, mugs, etc.....also available! https://www.teepublic.com/t-shirt/19770068-play-like-a-jet-logo-shirt?store_id=717242 To advertise on Play Like A Jet, please contact: Justin@Brokencontrollermedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

On this episode of Growing Kentucky's Leaders, we chat with David Grigson, Community President of First Southern National Bank, about his journey from FFA member to banker, the importance of financial stewardship and how investing in young agricultural entrepreneurs shapes our communities. Links: Lincoln County FFA Campbellsville University Pitman Creek Wholesale The Ruthless Elimination of Hurry

The book English Food by Jane Grigson was published 50 years ago this year. It's a book that has completely changed my life and I wanted to celebrate it with a three-part special. This is part two.In this very special episode, I am talking with award-winning food writer, broadcaster, and teacher Sophie Grigson, Jane's daughter, not just about English Food but Jane as a writer, cook, person—and mum and role model, of course. We talk about what inspired Jane to write three editions of English food, why I chose Jane's book to cook from, Singin' Hinnies, Sussex pond pudding, Jane's dislike of rhubarb, and many other things.Sophie's websiteSophie's Waterstones pageFollow Sophie on Twitter @trullidelicious; Instagram @trulli_delicious; or Threads @sophie_grigson_herselfSupport the podcast and blogs by becoming, if you can, a £3 monthly subscriber, and unlock lots of premium content, or treat me to a one-off virtual pint or coffee: click here.Things mentioned in today's episode:The Jane Grigson Collection at Oxford Brookes UniversityThe Jane Grigson TrustBooks and other things mentioned in today's episode:English Food by Jane Grigson Jane Grigson's Fruit BookJane Grigson's Vegetable BookSussex Pond Pudding article by Felicity CloakePrevious episodes pertinent to today's episode:50 Years of English Food by Jane GrigsonPrevious blog posts pertinent to today's episode:Read Neil Cooks Grigson hereMy first attempt at Singin' Hinnies (it didn't go well. But I have improved since!)Upcoming events:Monsters & their Meals Hallowe'en eventPudding workshops at the Museum of Royal WorcesterFind out about upcoming events on the...

The book English Food by Jane Grigson was published 50 years ago this year. It's a book that has completely changed my life and I wanted to celebrate it – and there are four excellent guests in today's slightly longer-than-usual episode: Sam Bilton, Ivan Day, Annie Gray and Jill Norman It is because of Jane and her book that I am doing what I'm doing today – she taught me how to cook, told me about England's fine and rich food culture and how to reconnect with it.We talk about the unique way Jane's book was published, Jane's approach to research and writing, her attention to detail, her friendship with Elizabeth David, favourite recipes, and her frustrations regarding low-quality shepherd's pie.Find out more about Sam Bilton and her work here.Find out more about Ivan Day and his work here.Find out more about Annie Gray and her work here.Find out more about Jill Norman and her work here.Support the podcast and blogs by becoming, if you can, a £3 monthly subscriber, and unlock lots of premium content, or treat me to a one-off virtual pint or coffee: click here.Things mentioned in today's episode:Neil's recent appearances on The Delicious Legacy, The Full English and Gastropod Neil's recent Daily Express articleTo see Neil's Country Life articles, please visit the website's Media pageThe Jane Grigson TrustBooks mentioned in today's episode:English Food by Jane Grigson Jane Grigson's Fruit BookGood Things in England by Florence WhiteThe Taste of Britain by Laura Mason & Catherine BrownThe Scots Kitchen by F. Marion McNeillPrevious blog posts pertinent to today's episode:Read Neil Cooks Grigson...

Social value and construction recruitment How can a social value approach to attracting new workers into construction help to deal with the industry's well known labour and skills shortage? To look into this issue, CN deputy editor Ben Vogel is joined by Amelia Woodley, ESG director of Speedy Hire, and Emma Grigson and Liz Squire, two experts from the Social Recruitment Advocacy Group.

Chris Ballard has had better drafts than Ryan Grigson, and it isn't close - but Grigson's Colts teams had better records, and it isn't close. Caitlin Clark just missed a triple double and led the Fever to a win over Diana Taurasi's Phoenix Mercury. Obi Toppin has agreed to a four-year contract extension to stay with the Indiana Fever - while the Sixers have agreed to pay chronic underachiever Paul George over $50M per year during his twilight years! https://mybookie.website/joinwithKENT Promocode: KENT Here is the link for my book: https://www.amazon.com/Oops-Art-Learning-Mistakes-Adventures/dp/173420740X Learn more about your ad choices. Visit megaphone.fm/adchoices

Sr VP of Personnel for the Vikes, Ryan Grigson kicks off the final hour with the guys, then Mike Florio pops on as the final guest of the Combine festivities!

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VALENTINE'S DAY LIVE SHOW TICKETS 15th February 7pm @ The Ministry in collaboration with LUVISS Katie interviews dating coach Claire Grigson on finding success and happiness in modern dating. They discuss Claire's unique style of relationship coaching, common dating problems Claire sees with clients, and how people can set themselves up for dating success in 2024. They also tackle questions from Katie's audience on whether to pay for dating apps, how to choose partners, the dreaded friend zone, and the differences between app dating vs real-life dating. KEY TAKEAWAYS ·      Define what success in dating looks like for you specifically through self-reflection and journaling on your intentions, values and vision. This helps assess potential partners. ·      Move conversations to in-person dates quickly when using dating apps, within 2 days ideally, to avoid unrealistic expectations from excessive messaging. ·      Pay more for a dating coach, events and activities likely to expand your social network versus paying for premium dating app features, which tend to increase overwhelming options. ·      People often subconsciously choose partners that recreate dynamics with unavailable or inconsistent parents to try and rewrite the story, seeking love that feels familiar. ·      Accept and respect when someone says they just want to be friends after dating, for the sake of your emotional health, it likely won't change. ·      In-person singles events allow more accurate vibes assessment and expand your social network, despite potential initial nerves.   BEST MOMENTS "My definition of success in dating is to make interesting connections with people that align with me." "Be kind, like, still have a brief interaction with this person...people notice that." "When you can allow yourself to just push out your comfort zone a little bit and do it, you'll probably find that you're like, that was actually all right."   ABOUT THE GUEST Claire is a dating & relationship coach, who has supported hundreds of women to feel more empowered, secure & confident in their love lives. From finding joy in being single, navigating dating, and building fulfilling relationships, she empowers women to start with the most important relationship of all - the one with themselves, so they can then go on and attract their person. Using a powerful combination of coaching, nervous system regulation, subconscious work, mindset, energetics, & mentoring, Claire supports her clients to build secure relationships and step into the most empowered & confident version of themselves.  You can connect with her on ;  Instagram ; https://www.instagram.com/claire_grigson_coaching/ TikTok ; https://www.tiktok.com/@claire_grigson_coaching?_t=8WySEp8CKYv&_r=1 Facebook ; https://www.facebook.com/claire.grigson.coaching Email ; claire@clairegrigson.com 1:1 Coaching is by application only: https://docs.google.com/forms/d/e/1FAIpQLSdWsd2AAOTXlpdNMNYaevEdFlPvM-_sr2ZCbwFGOB-__iXWWQ/viewform ABOUT THE HOST Katie McNamara - London. I started Single Sounds to create a new fun method of dating as I felt that there is now little variety with how to meet people. I absolutely love podcasts and believe in the strong sense of self you can get from them so I thought it was perfect for a dating medium. As I like to say this podcast is for people who have too much personality for a dating app. CONTACT METHOD - Linktree - https://linktr.ee/singlesounds  Instagram: https://www.instagram.com/singlesounds/  singlesoundspodcast@gmail.com   Learn more about your ad choices. Visit megaphone.fm/adchoices

Sophie Grigson is a food writer and celebrity chef who has written over 20 cookbooks. Her TV career began in 1993 with the award-winning 12-part series Grow Your Greens, Eat Your Greens for Channel 4. Her latest series, Sophie Grigson: Slice of Italy, is on the Food Network and is available on Discovery+. She has written columns for the Sunday Express Magazine, Evening Standard, the Sunday Times and The Independent and she won the Guild of Food Writers Cookery Journalist of the Year Award in 2001. She currently lives in Puglia in the south of Italy, where she runs a small catering company, Trulli Delicious .Sophie Grigson is guest number 332 on My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .To watch Sophie's latest show, Slice of Italy, visit - https://foodnetwork.co.uk/spotlight/sophie-grigson-slice-of-italy-0 .Follow Sophie Grigson on Twitter @trullidelicious & Instagram: @sophiescookeryschool .Follow My Time Capsule on Twitter, Instagram & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter: @fentonstevens and Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Get bonus episodes and ad-free listening by becoming a team member with Acast+! Your support will help us to keep making My Time Capsule. Join our team now! https://plus.acast.com/s/mytimecapsule. Hosted on Acast. See acast.com/privacy for more information.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----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 finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----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 finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Claire is a Dating and Relationship Coach, who is passionate about empowering women to build a secure, loving and trusting relationship with themselves first, so they can then create the love life they truly desire.In this episode we cover:Relationship with selfApproaching and managing relationshipsA compassion and curiosity approachFeeling v ThinkingManaging your nervous systemFor more from Claire check her out:@claire_grigson_coaching@vetempoweredTikTok Hosted on Acast. See acast.com/privacy for more information.

Imposter syndrome is something we all can relate to and it is difficult to face. Katie and Claire talk about how to recognize it, the different types and how to manage it.  Learn more about Katie Ford: https://www.katiefordvet.com/ Learn more about Claire Grigson: https://www.clairegrigson.com/  To learn about Onlinepethealth, watch a free webinar, or join any of our Facebook groups, click here: https://onlinepethealth.com/podcast

Do you struggle with anxiety around dating? Are you struggling to find your perfect partner? Or maybe you're in a relationship and you need a few pointers in getting it back on track. This episode is not to be missed!

AJ is still in the hot spot while Susie is on holiday, and Charlotte Pike joins the presenting team again this week as they meet Sophie Grigson. Charlotte knows Sophie already, but AJ is really excited to meet her. They learn about her life since permanently relocating to Puglia in Italy. She shares her experiences living on the heel of Italy's boot and the joy of enjoying fresh local produce. Will Sophie convince AJ and Charlotte to set off on a Mediterranean adventure?  

What happens when Thomas preps a music law episode but Andrew also preps a music law episode? You get basically 2 episodes in 1! Given that we just moved to our more frequent schedule, we definitely did not intend to create such a behemoth, but there was just too much to cover! In the first half, Andrew sketches out the legal landscape in music copyright law and it's pretty severe limitations. We analyze the Blurred Lines/Got To Give It Up lawsuit, and the Sam Smith/Tom Petty case, complete with clips! Then in the second half, we FINALLY get to the actual case at hand, which is Grigson v Lopez. Thomas takes Andrew on a bit of a musical tour discussing different elements of the songs with even more clips!

IPL Radio catch up with sweethearts Margaret and Richard Grigson who both worked for 8 years at Gracehaven in Rockingham before retiring. When Richard had a stroke and, shortly afterwards, Margaret fractured a vertebra, they were no longer able to stay in their homes and moved into Gravehaven where they used to work together. For more information on IPL Radio visit us anytime at https://www.iplradio.org.au

Claire is a self love and relationship coach, who specialises in helping women with anxious attachment feel more secure, empowered and confident in their dating and love lives. She believes the most important relationship you will ever have, is with yourself, and this underpins all of her coaching practice. She is also co-founder of 'Vet Empowered', a company who provides personal development and coaching within the veterinary profession. She is multi-passionate, multi-facated, and loves being able to support other women on their journeys towards secure attachment and a strong self-relationship. Here are the resources referred to during this episode: Communication template freebie : https://www.subscribepage.com/communication-freebie Book: "Attached" - https://www.amazon.co.uk/Attached-Identify-attachment-style-perfect-ebook/dp/B0050CJNJC Book: The 5 Love Languages - https://www.amazon.co.uk/Love-Languages-Secret-that-Lasts-ebook/dp/B00OICLVBI/ref=sr_1_1?crid=2W41C7UA1KO3V&keywords=gary+chapman+love+languages&qid=1656317521&sprefix=gary+chapman+love+languages%2Caps%2C62&sr=8-1 Love language quiz: https://5lovelanguages.com/quizzes   You can connect with Claire on... Instagram ; https://instagram.com/claire_grigson_coaching TikTok ; https://www.tiktok.com/@claire_grigson_coaching Facebook ;https://www.facebook.com/claire.grigson.coaching www.clairegrigson.com www.vetempowered.com ____________ From your host : Adele Johnston I'm Adele Johnston, a certified nutritionist and positive psychology coach, passionate about helping women improve their menopause health and reclaim who you are without menopause taking over. This is a time in your life where you get to feel vibrant, sexy and reclaim you again! I'm proud to work with women like you and have created a very successful proven Reclaiming You 3 STEP PROCESS to help you take back control of your body during your menopause. For more details : https://adelejohnstoncoaching.com/ To get Adele's FREE 3-step Menopause Weight Loss Guide: https://adelejohnstoncoaching.com/menopause-weight-loss-guide/

Chad Greenway makes his weekly pit-stop on the Feast, then new draft pick Lewis Cine joins the guys, and the hour finishes with Sr Football Advisor Ryan Grigson!

Ep. 555 - Director of player personnel Dru Grigson joined Paul Calvisi to talk about the upcoming NFL Draft, building the Cardinals board and the overall depth of the 2022 class. Grigson also discusses the return of wide receiver A.J. Green, the addition of CB Jeff Gladney and much more. Plus, Calvisi and Ron Wolfley break down the many options the Cardinals could have when picking 23rd overall.

Ep. 555 - Director of player personnel Dru Grigson joined Paul Calvisi to talk about the upcoming NFL Draft, building the Cardinals board and the overall depth of the 2022 class. Grigson also discusses the return of wide receiver A.J. Green, the addition of CB Jeff Gladney and much more. Plus, Calvisi and Ron Wolfley break down the many options the Cardinals could have when picking 23rd overall.See omnystudio.com/listener for privacy information.

Subscribe Apple | Google | Spotify | Stitcher | iHeart   Support The Daily Gardener Buy Me A Coffee    Connect for FREE! The Friday Newsletter |  Daily Gardener Community   Friends of the Garden Meeting in Athens Georgia Register Here   Historical Events 1779 Birth of the physician, botanist, and American statesman, Joel Roberts Poinsett. In the 1820s, President John Quincy Adams appointed Joel to serve as a US ambassador in Mexico. Joel was introduced to a beautiful plant that the Aztecs called the cuetlaxochitl ("qwet-la-SHO-chee-til”), but today it's better known as the Poinsettia (books about this topic). Like most euphorbias, the Poinsettia has a white sap that the Aztecs used to treat wounds and skin issues, which is how it got the common name "Skin Flower."  In 1825, when Joel Poinsett sent clippings back home to South Carolina, botanists had new common names for the plant: "the Mexican Fire Plant" or "the Painted Leaf." The botanist Karl Wilenow ("Vill-ah-no") named the Poinsettia the Euphorbia pulcherrima. Pulcherrima means "very beautiful." By 1836, English newspapers were reporting on the Poinsettia in great detail: Poinsettia Pulcherrima.. are of the most brilliant rosy-crimson color, the splendor of which is quite dazzling.  Few, if any of the most highly valued beauties of our gardens, can vie with this. Every year, we celebrate National Poinsettia Day on December 12th, the day Joel Poinsett died.   1859 Birth of Solomon Naumovich Rabinovich, better known under his pen name Sholem Aleichem ("Sholl-em A-LEK-em") (books about this person), Yiddish author and playwright. The musical Fiddler on the Roof (1964), was based on his stories. Sholom Aleichem wrote, It's as my mother says: If you want to learn how to grow cabbages, ask the gardener, not the goat.   1905 Birth of Geoffrey Grigson ("Jeffrey") (books about this person), British poet, and naturalist. Before publishing his own poems, Geoffrey edited a poetry magazine called New Verse. He once wrote: We do not feel, as Humphry Repton, the landscape gardener, felt in his epitaph, that our dust is going to turn into roses.  Dust we believe simply to be dust.   1905 Birth of Alice O'Connor, Russian-American writer, and philosopher. Her pen name was Ayn Rand ("Eye-n Rand") (books about this person). She developed a philosophy called Objectivism. Her work The Fountainhead brought fame, but her 1957 novel Atlas Shrugged is considered her magnum opus. Ayn supported laissez-faire capitalism, and when she died in 1982, a 6-foot-tall dollar-sign floral arrangement was placed by her casket.   1887 On this day, Charles E. Bessey (books about this person), an American botanist and University of Nebraska botany professor. He helped pass the Hatch Act. The Act provides $15,000 for state land-grant colleges and universities in every state to establish experiment stations.  Named for Congressman William Hatch, the experiment stations were the forerunner to state Cooperative Extension Services. Today, Hatch Act funding accounts for roughly ten percent of total funds for each experiment station. Nearly all Master Gardener programs in America offer training through a state land-grant university and its Cooperative Extension Service. Charles is remembered as America's greatest developer of botany education. His motto was, Science with Practice. Charles enjoyed plant science, but he never intended to become a botanist. He wanted to be a civil engineer and surveyor. But he agreed to pursue botany at the urging of his professors, and when he told the President of his school about his decision, he commented,   Well, Bessey, I am glad of it, but you'll never be rich.   Grow That Garden Library™ Book Recommendation By Any Other Name by Simon Morley This book came out late in 2021, and the subtitle is A Cultural History of the Rose. Simon Morley is a British artist and art historian. He's now Assistant Professor of Fine Art at Dankook University, Republic of Korea. He is also a keen rose gardener. I've watched a number of interviews with Simon. He does a wonderful job of helping us understand the significance of the rose in our world - socially, politically, and religiously - and how we celebrate the rose in our writing and art. Originating in the middle east and Asia, roses were associated with Venus or Aphrodite, the goddess of love in ancient times. This early association with love is why roses are the flower of Valentine's day. In Western society, roses were bred in the early 1800s in France and then in the late 1800s in England. Both countries have a long and royal history with the rose. Today, the rose is the national flower for many countries, including America, Iran, Bulgaria, Ecuador, Iraq, Maldives, Romania, Slovakia, and England. Simon Morley's quest for a deeper understanding of the rose lead him to appreciate the duality in the meaning and symbolism of the rose. The rose offers incredible beauty and fragrance, but the prickles or thorns mean the rose can bring pain. This complexity of pleasure and pain gives the rose enhanced significance throughout history. This book is 304 pages of an examination and a celebration of the rose. You can get a copy of By Any Other Name by Simon Morley and support the show using the Amazon link in today's show notes for $21.   Botanic Spark 1942 Birth of John Winslow Irving (books about this person), American-Canadian novelist and screenwriter. John wrote The World According to Garp (1978). Since then, he has continued to write best-sellers like The Cider House Rules (1985), A Prayer for Owen Meany (1989), and A Widow for One Year (1998). Here's an excerpt from A Prayer For Owen Meany: And if she wore cocktail dresses when she labored in her rose garden, they were cocktail dresses that she no longer intended to wear to cocktail parties. Even in her rose garden, she did not want to be seen underdressed.  If the dresses got too dirty from gardening, she threw them out.  When my mother suggested to her that she might have them cleaned, my grandmother said,  ‘What? And have those people at the cleaners wonder what I was doing in a dress to make it that dirty?'  From my grandmother, I learned that logic is relative.   Thanks for listening to The Daily Gardener And remember: For a happy, healthy life, garden every day.

Former Vikings GM Jeff Diamond on Vikings' hires, Cousins and how he views the big game.Supported by Platinum Bank (https://www.platinumbankmn.com/), White Bear Lake Superstore Buick GMC (http://www.WhiteBearLakeSuperstore.com) & State Farm Agent Tony Hoaglund (https://www.champlininsurance.com/).

Former Vikings GM Jeff Diamond on Vikings' hires, Cousins and how he views the big game.Supported by Platinum Bank (https://www.platinumbankmn.com/), White Bear Lake Superstore Buick GMC (http://www.WhiteBearLakeSuperstore.com) & State Farm Agent Tony Hoaglund (https://www.champlininsurance.com/).

The Minnesota Vikings have hired former Indianapolis Colts general manager Ryan Grigson for a senior personnel role. For.... Some reason. Grigson and new GM Kwesi Adofo-Mensah worked together in Cleveland. Timestamps: • (0:40) Ryan Grigson Hired • (5:59) Ed Donatell for DC? • (9:07) Brian Stewart DB Coach? • (11:14) Stephen A. Smith and Jefferson • (17:20) NFL Honors Predictions • (25:17) Lance Zierlein Mock Draft 1.0 A Northern Digital Production --- YouTube: https://www.youtube.com/c/purpleftwpodcast

Mike Woodson is bringing humility to Indiana Basketball coaching we haven't seen in a LONG time - and I LOVE it! It's not about the coach - it's about the players! And Woodson knows it was the players that beat Purdue last night! Indianapolis Colts fired Ryan Grigson five years ago today. His five years as the GM brought 15 more wins than losses. How did how do, and how does he compare to Chris Ballard, the current general manager? --- Support this podcast: https://anchor.fm/the-kent-sterling-show/support

This week on Yes But Why, I chat with author, artist and facilitator, Natalie Grigson. Natalie Grigson was born and raised in Austin, Texas. She is the author of seven books, including the bestselling Peter Able series. Natalie is a facilitator both in-person and online. She teaches connection-focused improv (in-person), creative writing (online), and art classes for both adults and teens (in-person). She has also been writing and editing professionally for the past decade. Natalie is also my fiction writing teacher and she has been my writing coach for the past year on a YA novel that I am in the middle of. #accountability So I've known her for quite a while but we've never had such a long one-on-one talk. Get ready for a lot of silly. It was great to get to know Natalie in this way. She tells me about how she got her literary agents and lots of good juicy advice for writers who want to publish their work right now. Natalie has some great insight on how to publish and promote your work. Natalie tells me about her Peter Able series and all the magical fun involved with that story. And she also talks to me about her books for kids on mindfulness (“Just Call Me Is”) and body positivity (“Call Me Perfect”), which she wrote and illustrated herself! Natalie Grigson is such a multi-talented artist! We talk about building a freelance career working as a copywriter, an editor, and a content producer. We get into quite a discussion about confidence versus stubborn determination when it comes to propelling yourself forward in your career. We finally get to bottom of why I believe Natalie spends all her leisure time on yachts in Lady Bird Lake. To learn more about the amazing Natalie Grigson, go to www.NatalieGrigson.com. If you are in Austin and you want to support Natalie, she will be teaching an in-person (outdoor Covid-cautious) level 1, six-week improv class coming up in a couple of weeks. It is like a level one improv class, but slightly more focused on connection. https://nataliegrigson.com/improv-classes/ If you are not in Austin and you want to support Natalie, feel free to hire her to write, edit, illustrate, or make art for you! Contact her here: https://nataliegrigson.com/contact/ To stay up to date on Natalie's writing, art, and upcoming classes, follow her on Facebook or Instagram. To see Natalie retweet a dog photo every full moon, follow her on Twitter. Yes But Why Podcast is a proud member of the HC Universal Network family of podcasts. Visit us at HCUniversalNetwork.com to join in on the fun. #YesButWhy #Podcast #HCUniversalNetwork This episode of Yes But Why podcast is sponsored by audible - get your FREE audiobook download and your 30 day free trial at http://www.audibletrial.com/YESBUTWHY. Treat Yourself. Get Audible. This episode of Yes But Why is also sponsored by PodcastCadet.com. Go to PodcastCadet.com to connect with us so we can help you with your podcast! Save money by putting in offer code YBY20 to get 20% off the first service or workshop you buy! (production notes: recorded via ZOOM on 1/15/2022…posted on 1/17/2022)

This week on Yes But Why, I chat with author, artist and facilitator, Natalie Grigson. Natalie Grigson was born and raised in Austin, Texas. She is the author of seven books, including the bestselling Peter Able series. Natalie is a facilitator both in-person and online. She teaches connection-focused improv (in-person), creative writing (online), and art classes for both adults and teens (in-person). She has also been writing and editing professionally for the past decade. Natalie is also my fiction writing teacher and she has been my writing coach for the past year on a YA novel that I am in the middle of. #accountability So I've known her for quite a while but we've never had such a long one-on-one talk. Get ready for a lot of silly. It was great to get to know Natalie in this way. She tells me about how she got her literary agents and lots of good juicy advice for writers who want to publish their work right now. Natalie has some great insight on how to publish and promote your work. Natalie tells me about her Peter Able series and all the magical fun involved with that story. And she also talks to me about her books for kids on mindfulness (“Just Call Me Is”) and body positivity (“Call Me Perfect”), which she wrote and illustrated herself! Natalie Grigson is such a multi-talented artist! We talk about building a freelance career working as a copywriter, an editor, and a content producer. We get into quite a discussion about confidence versus stubborn determination when it comes to propelling yourself forward in your career. We finally get to bottom of why I believe Natalie spends all her leisure time on yachts in Lady Bird Lake. To learn more about the amazing Natalie Grigson, go to www.NatalieGrigson.com. If you are in Austin and you want to support Natalie, she will be teaching an in-person (outdoor Covid-cautious) level 1, six-week improv class coming up in a couple of weeks. It is like a level one improv class, but slightly more focused on connection. https://nataliegrigson.com/improv-classes/ If you are not in Austin and you want to support Natalie, feel free to hire her to write, edit, illustrate, or make art for you! Contact her here: https://nataliegrigson.com/contact/ To stay up to date on Natalie's writing, art, and upcoming classes, follow her on Facebook or Instagram. To see Natalie retweet a dog photo every full moon, follow her on Twitter. Yes But Why Podcast is a proud member of the HC Universal Network family of podcasts. Visit us at HCUniversalNetwork.com to join in on the fun. #YesButWhy #Podcast #HCUniversalNetwork This episode of Yes But Why podcast is sponsored by audible - get your FREE audiobook download and your 30 day free trial at http://www.audibletrial.com/YESBUTWHY. Treat Yourself. Get Audible. This episode of Yes But Why is also sponsored by PodcastCadet.com. Go to PodcastCadet.com to connect with us so we can help you with your podcast! Save money by putting in offer code YBY20 to get 20% off the first service or workshop you buy! (production notes: recorded via ZOOM on 1/15/2022…posted on 1/17/2022)

This week on Yes But Why, I chat with author, artist and facilitator, Natalie Grigson. Natalie Grigson was born and raised in Austin, Texas. She is the author of seven books, including the bestselling Peter Able series. Natalie is a facilitator both in-person and online. She teaches connection-focused improv (in-person), creative writing (online), and art classes for both adults and teens (in-person). She has also been writing and editing professionally for the past decade. Natalie is also my fiction writing teacher and she has been my writing coach for the past year on a YA novel that I am in the middle of. #accountability So I've known her for quite a while but we've never had such a long one-on-one talk. Get ready for a lot of silly. It was great to get to know Natalie in this way. She tells me about how she got her literary agents and lots of good juicy advice for writers who want to publish their work right now. Natalie has some great insight on how to publish and promote your work. Natalie tells me about her Peter Able series and all the magical fun involved with that story. And she also talks to me about her books for kids on mindfulness (“Just Call Me Is”) and body positivity (“Call Me Perfect”), which she wrote and illustrated herself! Natalie Grigson is such a multi-talented artist! We talk about building a freelance career working as a copywriter, an editor, and a content producer. We get into quite a discussion about confidence versus stubborn determination when it comes to propelling yourself forward in your career. We finally get to bottom of why I believe Natalie spends all her leisure time on yachts in Lady Bird Lake. To learn more about the amazing Natalie Grigson, go to www.NatalieGrigson.com. If you are in Austin and you want to support Natalie, she will be teaching an in-person (outdoor Covid-cautious) level 1, six-week improv class coming up in a couple of weeks. It is like a level one improv class, but slightly more focused on connection. https://nataliegrigson.com/improv-classes/ If you are not in Austin and you want to support Natalie, feel free to hire her to write, edit, illustrate, or make art for you! Contact her here: https://nataliegrigson.com/contact/ To stay up to date on Natalie's writing, art, and upcoming classes, follow her on Facebook or Instagram. To see Natalie retweet a dog photo every full moon, follow her on Twitter. Yes But Why Podcast is a proud member of the HC Universal Network family of podcasts. Visit us at HCUniversalNetwork.com to join in on the fun. #YesButWhy #Podcast #HCUniversalNetwork This episode of Yes But Why podcast is sponsored by audible - get your FREE audiobook download and your 30 day free trial at http://www.audibletrial.com/YESBUTWHY. Treat Yourself. Get Audible. This episode of Yes But Why is also sponsored by PodcastCadet.com. Go to PodcastCadet.com to connect with us so we can help you with your podcast! Save money by putting in offer code YBY20 to get 20% off the first service or workshop you buy! (production notes: recorded via ZOOM on 1/15/2022…posted on 1/17/2022)

This week on Yes But Why, I chat with author, artist and facilitator, Natalie Grigson. Natalie Grigson was born and raised in Austin, Texas. She is the author of seven books, including the bestselling Peter Able series. Natalie is a facilitator both in-person and online. She teaches connection-focused improv (in-person), creative writing (online), and art classes for both adults and teens (in-person). She has also been writing and editing professionally for the past decade.Natalie is also my fiction writing teacher and she has been my writing coach for the past year on a YA novel that I am in the middle of. #accountability So I've known her for quite a while but we've never had such a long one-on-one talk. Get ready for a lot of silly. It was great to get to know Natalie in this way. She tells me about how she got her literary agents and lots of good juicy advice for writers who want to publish their work right now. Natalie has some great insight on how to publish and promote your work. Natalie tells me about her Peter Able series and all the magical fun involved with that story. And she also talks to me about her books for kids on mindfulness (“Just Call Me Is”) and body positivity (“Call Me Perfect”), which she wrote and illustrated herself! Natalie Grigson is such a multi-talented artist!We talk about building a freelance career working as a copywriter, an editor, and a content producer. We get into quite a discussion about confidence versus stubborn determination when it comes to propelling yourself forward in your career. We finally get to bottom of why I believe Natalie spends all her leisure time on yachts in Lady Bird Lake. To learn more about the amazing Natalie Grigson, go to www.NatalieGrigson.com.If you are in Austin and you want to support Natalie, she will be teaching an in-person (outdoor Covid-cautious) level 1, six-week improv class coming up in a couple of weeks. It is like a level one improv class, but slightly more focused on connection. https://nataliegrigson.com/improv-classes/If you are not in Austin and you want to support Natalie, feel free to hire her to write, edit, illustrate, or make art for you! Contact her here: https://nataliegrigson.com/contact/To stay up to date on Natalie's writing, art, and upcoming classes, follow her on Facebook or Instagram. To see Natalie retweet a dog photo every full moon, follow her on Twitter.Yes But Why Podcast is a proud member of the HC Universal Network family of podcasts. Visit us at HCUniversalNetwork.com to join in on the fun. #YesButWhy #Podcast #HCUniversalNetworkThis episode of Yes But Why podcast is sponsored by audible - get your FREE audiobook download and your 30 day free trial at http://www.audibletrial.com/YESBUTWHY. Treat Yourself. Get Audible. This episode of Yes But Why is also sponsored by PodcastCadet.com. Go to PodcastCadet.com to connect with us so we can help you with your podcast! Save money by putting in offer code YBY20 to get 20% off the first service or workshop you buy!(production notes: recorded via ZOOM on 1/15/2022…posted on 1/17/2022)

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This week, Gilly is off to Puglia to catch up with adventuress-in-chief and legendary food writer, Sophie Grigson two years after she upped sticks and left the UK for a brand new post-kids adventure in Italy. Her new book, A Curious Absence of Chickens is an immersion into the heart of her new world, and a set of goals for anyone who wants a taste of a more delicious way to live. See acast.com/privacy for privacy and opt-out information.

Hello Hello everyone! In this episode of Recipes for Disaster my guest Celyn Grigson and I talk about his disaster story about a music class and along the way we also talk about how we met, our journey throughout college, and some funny moments we've shared. Theme Song by: The Blue Hues --- Support this podcast: https://podcasters.spotify.com/pod/show/iris-ramirez6/support

(00:00-23:34) – Thursday's show opens with Dan talking about comments made by radio personality Howard Stern about employees at a hospital in Houston, Texas refusing to get the Covid-19 vaccine. Additionally, Dan talks about local media and bloggers having issues with former Colts GM Ryan Grigson.   (23:35-41:04) – Jon Wertheim of 60 Minutes and Sports Illustrated stops by to talk on his new book “Glory Days: The Summer of 1984 and the 90 Days That Changed Sports and Culture Forever.”      (41:05-48:46) – Dan closes hour number one by interacting with folks on YouTube and discussing having Ryan Grigson on the show later in the day. (48:47-1:13:44) – Our guy Jason Benetti, the TV Voice of the Chicago White Sox, joins the program to share some stories on the grind of broadcasting the baseball season, update us on his prep for the Olympics and give us some insights on the AL Central leading White Sox.     (1:13:45-1:30:25) Former GM of the Colts Ryan Grigson visits the program for the first of a few segments to look back on his tenure in Indy and answers questions on the way things went for the team during that time. Ryan also shares some stories from his time growing up in the Northwest Indiana and his playing career at Purdue where he sustained life-threatening injuries due to a hit from a defender. (1:30:26-1:36:41) –Hour number two concludes with more from Dan's conversation with former Colts GM Ryan Grigson during his tenure including if he had any regrets in the protection on the O-Line for Andrew Luck.   (1:36:42-2:05:33) – The final hour of the show opens with more from former Colts GM and current Cleveland Browns Senior Advisor Ryan Grigson speaking on coaches' inability to get Andrew Luck to get rid of the ball faster. Grigson also contemplates whether Andrew Luck would have retired underneath his regime. Plus, a callers asks Grigson about the rationale behind the Trent Richardson trade and what went wrong with him as the Colts' running back. Later, Ryan is asked what he would do differently and if he was too young to be a General Manager. (2:05:34-2:13:20) – Former Colts GM Ryan Grigson sticks around to answer more questions on his tenure with the team, including the infamous fake punt game against the New England Patriots. Plus, Ryan talks on the direction the franchise went      (2:13:21-2:22:30) – Thursday's show closes with Dan sharing the results from today's Indiana Grand Racing and Casino Race of the Day. Plus, Dan asks former Colts GM Ryan Grigson about his current position as a Senior Advisor to the Cleveland Browns. Ryan also answers a question on deflategate and other items during his tenure with the Colts. See omnystudio.com/listener for privacy information.

Today's Best of Features: (00:00-17:12) – Jon Wertheim of 60 Minutes and Sports Illustrated stops by to talk on his new book “Glory Days: The Summer of 1984 and the 90 Days That Changed Sports and Culture Forever.”      (17:13-41:39) – Our guy Jason Benetti, the TV Voice of the Chicago White Sox, joins the program to share some stories on the grind of broadcasting the baseball season, update us on his prep for the Olympics and give us some insights on the AL Central leading White Sox.     (41:40-1:10:17) – Former Colts GM and current Cleveland Browns Senior Advisor Ryan Grigson speaks on coaches' inability to make Andrew Luck get rid of the ball faster. Grigson also contemplates whether Andrew Luck would have retired underneath his regime. Plus, a callers asks Ryan about the rationale behind the Trent Richardson trade and what went wrong with him as the Colts' running back. Later, Ryan is asked what he would do differently and if he was too young to be a General Manager. See omnystudio.com/listener for privacy information.

Ep. 508 - The Cardinals recently conducted a rookie minicamp at the Dignity Health Arizona Cardinals Training Center in Tempe. What was learned? Director of player personnel Dru Grigson joined Paul Calvisi and Ron Wolfley to break it all down. Plus, find out when the Cardinals front office knew that Zaven Collins would be considered at No. 16, how Rondale Moore moves around the field and the upside of cornerbacks Marco Wilson and Tay Gowan.See omnystudio.com/listener for privacy information.

Ep. 508 - The Cardinals recently conducted a rookie minicamp at the Dignity Health Arizona Cardinals Training Center in Tempe. What was learned? Director of player personnel Dru Grigson joined Paul Calvisi and Ron Wolfley to break it all down. Plus, find out when the Cardinals front office knew that Zaven Collins would be considered at No. 16, how Rondale Moore moves around the field and the upside of cornerbacks Marco Wilson and Tay Gowan.

Ep. 508 - The Cardinals recently conducted a rookie minicamp at the Dignity Health Arizona Cardinals Training Center in Tempe. What was learned? Director of player personnel Dru Grigson joined Paul Calvisi and Ron Wolfley to break it all down. Plus, find out when the Cardinals front office knew that Zaven Collins would be considered at No. 16, how Rondale Moore moves around the field and the upside of cornerbacks Marco Wilson and Tay Gowan.

This week, in light of draft season, we turn back the clock to the Ryan Grigson Era and analyze the former Colts GM's draft picks. We’ll discuss the good ones, the bad ones and see how the Grigson era measures against fair criticism. --- Send in a voice message: https://anchor.fm/bluenotes/message

Ep. 503 - The 2021 NFL Draft is two weeks away and the Cardinals are making their final preparations. Director of player personnel Dru Grigson joined Paul Calvisi and Ron Wolfley to talk about scouting during the pandemic, meetings with prospects, covering pro days, building their draft board and more. Grigson also discusses the deepest positions in the draft and what it's like inside the war room. Plus, Wolf and Calvisi speculate on the role of new running back James Conner who signed with the Cardinals on Tuesday.See omnystudio.com/listener for privacy information.

Ep. 503 - The 2021 NFL Draft is two weeks away and the Cardinals are making their final preparations. Director of player personnel Dru Grigson joined Paul Calvisi and Ron Wolfley to talk about scouting during the pandemic, meetings with prospects, covering pro days, building their draft board and more. Grigson also discusses the deepest positions in the draft and what it's like inside the war room. Plus, Wolf and Calvisi speculate on the role of new running back James Conner who signed with the Cardinals on Tuesday.

Ep. 503 - The 2021 NFL Draft is two weeks away and the Cardinals are making their final preparations. Director of player personnel Dru Grigson joined Paul Calvisi and Ron Wolfley to talk about scouting during the pandemic, meetings with prospects, covering pro days, building their draft board and more. Grigson also discusses the deepest positions in the draft and what it's like inside the war room. Plus, Wolf and Calvisi speculate on the role of new running back James Conner who signed with the Cardinals on Tuesday.

This week the boys delve into the games vs Freo, get to know our co-host Harry "Grogsy" Grigson and discuss the Saturday and Sunday fixtures coming up this week! Be sure to follow the podcast & leave us a review, as well as following us on our socials. See ya Wednesday!

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Thanks for listening to the #ForTheCOLTure podcast!! SHOP ForTheCOLTure Shirts & Sweatshirts!! https://teespring.com/stores/for-the-... Please support the ForTheCOLTure podcast on Patreon!! https://www.patreon.com/GoColts SUBSCRIBE on YouTube!! https://www.youtube.com/channel/UCPkl... LIKE our Facebook page!! https://www.facebook.com/ForTheCOLTur... JOIN our Facebook group!! https://www.facebook.com/groups/16518... FOLLOW us on Twitter!! Luke Diamond @ForTheCOLTure | Jason Spears @ForTheCOLTure_J | Best Of ForTheCOLTure @COLTure_Podcast FOLLOW us on Instagram!! Luke Diamond @colture_podcast | Jason Spears @jasonspears_301 Music is property of Flo Rida "My House": https://www.youtube.com/watch?v=uo35R9zQsAI Show Audio is property of 1075 ESPN Radio: https://www.youtube.com/watch?v=0fBAAPz-G2I

On today's episode, Stampede Blue's Stephen Reed joins for our final What If talking through the Ryan Grigson era.What happens if the Colts hired former Assistant GM Tom Telesco (now Chargers GM) instead of hiring Grigson. How different would it be if Telesco was in Grigson's place?Would Andrew Luck still be playing if Telesco was GM? Where would the Colts be if Grigson was never brought aboard?All of this, plus so much more, in our final What If! Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's episode, Stampede Blue's Stephen Reed joins for our final What If talking through the Ryan Grigson era. What happens if the Colts hired former Assistant GM Tom Telesco (now Chargers GM) instead of hiring Grigson. How different would it be if Telesco was in Grigson's place? Would Andrew Luck still be playing if Telesco was GM? Where would the Colts be if Grigson was never brought aboard? All of this, plus so much more, in our final What If! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeff Lloyd and Pete Smith talk the Scott Peters signing, his tit;e may be underselling him it's a fun scenario to watch play out. Myles is back and no reason to see why he's lying. Grigson brought back. Vet's getting released, should Browns have interest? What QB heads to Chicago? #Browns Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jeff Lloyd and Pete Smith talk the Scott Peters signing, his tit;e may be underselling him it's a fun scenario to watch play out. Myles is back and no reason to see why he's lying. Grigson brought back. Vet's getting released, should Browns have interest? What QB heads to Chicago? #Browns Learn more about your ad choices. Visit megaphone.fm/adchoices

How can the Metal Working Nation close the manufacturing skills gap? As the manufacturing industry continues to grow with the demand for fast and excellent production, it is imperative that the proper skills be found, fostered, and taught. Even with the desirable technological sophistication of the modern manufacturing world, young talent isn’t being found quickly enough to fill the gap left by the retirement of the Baby Boomer generation.  Jim and Jason brainstorm with guest speakers Hernan Ricaurte (Owner of Ricaurte Precision), Brian Grigson (General Manager of Axxis Corporation), and Brain Pendarvis (Owner of Pendarvis Manufacturing) about how manufacturing leaders can take action to influence the next generation of machinists. Be sure to listen to the entire episode to catch the best insights into the real and persisting problem of the manufacturing skills gap!  Connect with us:www.MakingChips.com/contact Putting a finger on the pulse of the manufacturing skills gap Ricaurte, Grigson, and Pendarvis all agree that the skills gap is certainly a major issue of the modern manufacturing world. The “great wave” is here; the older are retiring and the younger aren’t qualified or aren’t interested. Pendarvis shares the struggle of finding talent skilled in the newest manufacturing technology. Leaders know that you can’t just stick anyone on your CNC machines. While the skills gap is a real and present problem, it doesn’t have to remain that way.  Changing the perception of manufacturing is the first step. Most high schoolers don’t even know that trade school for CNC machining or similar work is an option. Many still think that they have to go to college to have a meaningful career. Manufacturing, however, offers so much at such little training cost. Building bridges with your community is the first step to closing the skills gap. Give presentations at the local middle and high schools, invite schools to tour your facilities and show them that what they need - and want - in a career can be found in manufacturing. “It’s not always money that people want,” says Grigson. A clean environment, security, incentives, and evident room for company growth are all attributes that can help your business attract young talent.  Effective training is grounded in effective culture  Who are you as a company? What is your niche? While there is a skills issue, it is important to only hire the skills that you need. What is your company culture? The culture that you want to foster within your business begins with you as the leader. One challenge created by the skills gap is finding someone who is not only talented but also a good fit within your company. Having more experienced employees shadow and oversee the work of new hires or interns provides the opportunity for not only the skills - but for the culture - to be taught.  Ricaurte shares the lessons he learned from studying the manufacturing culture of Japanese machinists. Fostering a culture of accountability and excellence if key. Attention to detail, respect for one another, and the willingness to learn are all necessary to an effective workplace Training the younger generation within that culture will help produce the future talent that you need. Don’t forget to listen to the rest of the episode for more insight into fostering effective culture! What makes a great modern machinist?  It actually depends on the work and skill-set required! With the advancement of technology, the skill sets needed by manufacturers grows more diverse. While not everyone will be adept in all areas of machining, they always need to be willing to learn and grow. Curiosity is a sign of a great future machinist. While genuine curiosity, humility, excellent work ethic, and personal drive are all hard to detect in an interview, they should be attributes that you are striving to discover.  Running an apprenticeship or internship program at your shop is also a highly effective way to discover and nurture new talent. Involve high schoolers in your company’s growth and demonstrate to them the future possibilities within manufacturing. Hiring part-time can also be a good tactic to see if you and your new employee are a good long-term fit.  Finding and providing opportunity in unlikely places Your local high school isn’t the only place to find potential future talent to invest in. Underprivileged communities are gold when it comes to finding young people with the passion and drive to try something unconventional - such as attending trade school to learn CNC machining. There are bright, curious minds everywhere! Many kids don’t know that manufacturing is even an option among today’s career paths. Manufacturing leaders need to begin investing in and inspiring the talent and ability of young people.  Yes, the manufacturing skills gap is a problem, but it’s not insurmountable. Listen to the full episode to learn more about how you can make a difference in inspiring the next generation of manufacturers!  Here’s The Good Stuff! Preparing for the retirement of the Baby Boomer generation.  Do the challenges created by the skills gap affect all parts of the country equally?  The tie between the skills gap and advancing technology.  Knowing your niche gives you vision in knowing what talent to pursue.  The challenges surrounding changing the old perception of manufacturing.  Different strategies for finding the right fit.  What you should be looking for in a potential hire.  What you value may differ with each job opening.  Creative inspiration for the next generation of manufacturers.  Tools & Takeaways 2018 Skills Gap Report NTMA Training Centers ProShop ERP Xometry The Boring Bar newsletter: Text CHIPS to 38470 This Week’s Superstar Guests Hernan Ricaurte on LinkedIn Ricaurte Precision Brian Pendarvis on LinkedIn Pendarvis Manufacturing Brian Grigson on LinkedIn Axxis Corporation Connect With MakingChips www.MakingChips.com On Facebook On LinkedIn On Instagram On Twitter On YouTube Subscribe to Making Chips on Apple Podcasts, Google Play, Stitcher, or Spotify

On today's episode, George Bremer of The Herald Bulletin stops by to dish out the latest Colts thoughts. Bremer, who's been the Colts beat writer spanning over two different regimes now, updates us on plenty of topics.- Rookie minicamp check-in: Parris Campbell is way bigger in-person than Bremer originally assumed + Rock Ya-Sin and Quincy Wilson will have a fun training camp battle for CB2.- What stands out the most covering the Ballard era Colts compared to the Grigson era Colts? Character stands out in that locker room.- How will the Colts maneuver 2020? Eric Ebron, Jack Doyle and Anthony Castonzo are the headliners who will be unrestricted free agents. Bremer says if you perform, Ballard will pay his own.- Can this offense be the best in the NFL? Absolutely.All of this, plus much more, with Bremer so don't miss out on this one! (Note: George called in and it sounds like from his car. If it's static at points on either end, that is why. Apologies.) Learn more about your ad choices. Visit podcastchoices.com/adchoices

On today's episode, George Bremer of The Herald Bulletin stops by to dish out the latest Colts thoughts. Bremer, who's been the Colts beat writer spanning over two different regimes now, updates us on plenty of topics. - Rookie minicamp check-in: Parris Campbell is way bigger in-person than Bremer originally assumed + Rock Ya-Sin and Quincy Wilson will have a fun training camp battle for CB2. - What stands out the most covering the Ballard era Colts compared to the Grigson era Colts? Character stands out in that locker room. - How will the Colts maneuver 2020? Eric Ebron, Jack Doyle and Anthony Castonzo are the headliners who will be unrestricted free agents. Bremer says if you perform, Ballard will pay his own. - Can this offense be the best in the NFL? Absolutely. All of this, plus much more, with Bremer so don't miss out on this one! (Note: George called in and it sounds like from his car. If it's static at points on either end, that is why. Apologies.) Learn more about your ad choices. Visit megaphone.fm/adchoices

James Grigson joins us today on Train Smarter with Science. Grigson is a sports scientist who is currently Manager of BD for Fusion Sport in APAC. Fusion Sport is “the global leader in providing innovative technologies for assessing and optimizing athlete performance and fitness for clients worldwide.” James and Mark discuss the current landscape of products which coaching staff can use to monitor, test and report on athlete performance management, and James gives teases us with potential product offerings from Fusion Sport in the future.   Train Smarter with Science is brought to you by Velocity Performance. Visit www.velocityperformance.com.au to learn more.   Team Contact Email us at team@tswspodcast.com   Guest Details If you'd like to learn more or get in touch with James Grigson or the team at Fusion Sport, please follow the links below: www.axiom-ams.com https://www.fusionsport.com https://www.linkedin.com/in/jamesgrigson   Music Credit: Panthurr https://open.spotify.com/artist/2NZPNX4jXljA8MsUTrrgNq https://instagram.com/spencer.panthurr https://soundcloud.com/panthurr   Thanks for listening and we would love for you to subscribe so you don't miss any episodes! Support the show: https://www.patreon.com/trainsmarterwithsciencepodcast See omnystudio.com/listener for privacy information.

Sharon Mascall-Dare interviews Afghanistan veteran Emma Grigson. Life on the Line tracks down Australian war veterans and records their stories. Emma Grigson deployed to Afghanistan with the Australian Army as a Medical Officer, and then continued to serve as an Intelligence Officer. Emma shared with Sharon Mascall-Dare her story of personal courage in overcoming adversity. To mark the approach of Anzac Day, this podcast finishes with something different - a song. The song "War" by John Lynam was inspired when John met then 23-year-old Afghanistan veteran Beau Rutledge. John is putting together a special project and hopes any Afghanistan veteran with images or video they're willing to share will contact him at John Lynam Music on Facebook. To see photos related to today's interview with Emma, visit our website - www.lifeonthelinepodcast.com - or follow us on social media: @lifeonthelinepodcast on Facebook and Instagram, and @LOTLpod on Twitter.

Topics:-Falcons killed it-Panthers land Star and Short-Whadda ya doin Browns-Broncos disastrous draft-Lions class was excellent-Grigson stays the worst Learn more about your ad choices. Visit podcastchoices.com/adchoices

Topics: -Falcons killed it -Panthers land Star and Short -Whadda ya doin Browns -Broncos disastrous draft -Lions class was excellent -Grigson stays the worst Learn more about your ad choices. Visit megaphone.fm/adchoices

Grigson, Natalie. THE FANTASTIC FABLE OF PETER ABLE

Recently Chris Ballard praised former #Colts GM Ryan Grigson for putting together an offensive line heavy 2016 draft class, and he was right to. While the large majority of fans were repulsed by him, Grigson helped out his successor quite a bit with the transition before it even began. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, Jonathan once again welcomes Psychedelic Parenting's favorite author, Natalie Grigson. Natalie is the author of the amazing title Just Call Me Is, which we helped to sponsor on Kickstarter. Natalie is now launching another campaign for the sequel, Call Me Perfect , which is currently 1/2 way funded with about 2 weeks to go. Call Me Perfect approaches body image and identity with the same gentle touch that Just Call Me IS brought to mindfulness. In this conversation, Jonathan and Natalie talk about the new book, and how Natalie's own psychedelic experiences helped her heal from a childhood eating disorder. Jonathan also discusses some of the struggles with identity and body image that led to the recent gap in podcast creation. Enjoy. Get Full Program Notes at: http://www.psychedelicparenting.org/psychedelic-parenting-podcast-31/

The Indianapolis #Colts season is all but over, but some key decisions will need to be made in the coming weeks. Should they sit some of their key contributors including #Luck? Are Pagano and Grigson working on borrowed time? Who could the Colts bring in to turn things around? Learn more about your ad choices. Visit megaphone.fm/adchoices

Christmas is coming early Colts fans! Two of your favorite Colts blogosphere personalities - Brad Wells and Greg Cowan - team up for a once in a lifetime event: a podcast dedicated to telling you how much they dislike the work of Chuck Pagano, Ryan Grigson, and Jim Irsay. On Thursday, December 15th, at 2pm ET, 11am PT, Brad and Greg will say what everyone is thinking: Grigson and Pagano have to go. They'll tell you what they've done wrong, and what Jim Irsay needs to do to fix his Indianapolis Colts and give them a chance at winning a Super Bowl in the Andrew Luck Era.  

On this episode, Jonathan talks with Natalie Grigson, who is in the midst of a Kickstarter campaign for her new project Just Call Me IS, a book designed to teach tweens techniques of minfulness, as well as help them understand and get to know their Inner Self ("IS"). Jonathan and Natalie talk about launching her Kickstarter, in which she is seeking to raise $10,000 to pay for her time to fully illustrate the book, as well as resources for printing and marketing the final product. They also talk about how her experiences with psychedelics have influenced her career path, her creative process, and her work with children. Get full Program notes HERE: http://www.psychedelicparenting.org/?p=1621

Groovy beats, soaring vocals, chilled tunes with an electro feel. Featuring Tiesto, Kings of Tomorrow, Mousse T and The Lovebirds. Hope you enjoy.

Groovy beats, soaring vocals, chilled tunes with an electro feel. Featuring Tiesto, Kings of Tomorrow, Mousse T and The Lovebirds. Hope you enjoy.

Groovy beats, soaring vocals, chilled tunes with an electro feel. Featuring Tiesto, Kings of Tomorrow, Mousse T and The Lovebirds. Hope you enjoy.

Chuck Pagano - Extended, Ryan Grigson - Extended, Jim Irsay - Something. The Colts shocked the sports world when they extended their head coach and GM. They followed that up by firing nearly their entire coaching staff. We'll discuss the front office/coaching situation as well as what we expect the Colts to do next.

Here's my full chat with Michael Grady - the good half of Grady & Big Joe on 1070 The Fan - about the Colts loss and the legitimacy of the riff between Chuck Pagano and Ryan Grigson (and/or Jim Irsay).

Jane Grigson was a unique and pioneering voice in food writing; a self-taught cook whose books and journalism changed British food culture. Twenty-five years after her death, Sheila Dillon is joined by three special guests to explore her life, food and legacy.This is part one of a special two-part edition of The Food Programme, recorded in front of an audience at Bristol Food Connections festival on the 4th of May.On stage with Sheila is Geraldene Holt, food writer, author of 'Diary of a French Herb Garden' and Chair of the Jane Grigson Trust, the award-winning chef Shaun Hill who has cooked his way through Jane's books and also cooked for her, as well James Beard-nominated author, Telegraph food columnist and cook Diana Henry.From 'The Fruit Book' to 'Good Things' to 'Charcuterie and French Pork Cookery', to her long running articles for The Observer, Sheila Dillon and her guests explore a voice that, despite gradually becoming less familiar, really does still matter today.Readings by Kerry Elkins.Presenter: Sheila Dillon Producer: Rich Ward.

Free Agency Opens Today (March 11th, 2014) at 4pm ET. Join Colts Authority Radio LIVE at 4pm, as Kyle and Greg break down all of the moves in Indianapolis and around the league!

Does addiction to one thing make you susceptible to addiction to another? Dr. Patricia Sue Grigson of the Penn State College of Medicine looks at this subject as it applies to drug use and binge eating. Grigson worked with student Matt Puhl, who was lead author on the study and collected the data. Read more about Dr. Grigson's research here>> Click on the iPod icon above or the direct download link below to hear the show. Right-click to save the file to your system.

In this week's episode, Greg, Laura, and Brett will be joined by Derek Schultz of 1260 WNDE to discuss the Jim Caldwell firing, the first week of Ryan Grigson's tenure, rumors, sources, leaks, and a "new era" for the Indianapolis Colts.

Welcome to the Ryan Grigson Era! The Colts have hired a new GM, join us - LIVE! - as we discuss the hire, Grigson's style and philosophies, and our expectations for his tenure, both in 2012 and beyond. In Segment 2, we'll discuss the playoffs, recapping Wildcard Weekend as well as looking ahead to the Divisional Round match-ups. In the 3rd host segment, we'll finish up with some more Colts talk - getting some closure with the Bill Polian Era, looking at the week that was, and discussing the week that will be. We'll close up with your calls! Don't miss a second, Colts fans!

Roy Plomley's castaway is critic Geoffrey Grigson.Favourite track: She Never Told Her Love by Franz Joseph Haydn Book: The Oxford English Dictionary Luxury: Pate de foie gras

Roy Plomley's castaway is critic Geoffrey Grigson. Favourite track: She Never Told Her Love by Franz Joseph Haydn Book: The Oxford English Dictionary Luxury: Pate de foie gras

Roy Plomley's castaway is cookery expert Jane Grigson.Favourite track: Hollowed Stone by Geoffrey Grigson Book: Notes from an Odd Country by Geoffrey Grigson Luxury: Typewriter and paper

Roy Plomley's castaway is cookery expert Jane Grigson. Favourite track: Hollowed Stone by Geoffrey Grigson Book: Notes from an Odd Country by Geoffrey Grigson Luxury: Typewriter and paper