Podcast appearances and mentions of Jack Pierce

This episode is the second part of my discussion of the films of Richard Cuhna with author Mark Clark. We focus on FRANKENSTEIN'S DAUGHTER and MISSILE TO THE MOON (1958) before we ramble off into talking about the Planet of the Apes franchise. Staying on topic is difficult for both of us! The cast of FRANKENSTEIN'S DAUGHTER (1958) is examined with lots of love directed at the amazingly villainous Donald Murphy as a descendant of grandaddy Frankenstein. One could only imagine what his character might have accomplished if he could gain some control over his libido. We look at the various funding methods used by mad scientists and the ways that suburban homeowners can somehow forget entire areas of their house exist! We also lament the lack of Jack Pierce's contributions to the monster makeup and wish he could have returned after his work on GIANT FROM THE UNKNOWN as the film's monster look is oddly non-gender specific. As a science fiction/horror tale, the movie actually has a very rare pair of competent police officers, although their detective skills don't mean they will live through the investigation.   When our conversation turns to MISSILE TO THE MOON (1958) we praise the excellent rock monsters and a few of the performances but struggle to find more to love. Perhaps shifting from original screenplays to remaking a not very good film wasn't the best idea for Cunha and his collaborators. Still, there are things to enjoy in the movie, especially if you have a soft-spot for 50's science fiction tales told with more enthusiasm than fidelity to reality.   If you have any thoughts about the four genre films directed by Richard Cunha thebloodypit@gmail.com is where to send them. We both love these movies and return to them regularly. With some luck the missing two can be rescued from YouTube by an enterprising Blu-Ray company soon. 

For this special edition episode, Jack Pierce and Joe Walker set about selecting the Palace XI of players that should have played for the club but never did. They are joined by football podcast royalty and the host of Football Cliches, Adam Hurrey, for the episode. Whether their family supported the club, rumours linking them to Palace would never die or they just felt really Palace, some players did very well to avoid a spell in SE25 during their career. Find out who the central midfielder that screams West Wickham is, which obligatory Australian was selected and where this never-to-happen team would play their home fixtures. Adam also talks about his new book, Extra Time Beckons, Penalties Loom: How to Use (and Abuse) The Language of Football, recently long listed for the William Hill Sports Book of the Year 2024. He also tells us which modern football cliche was invented by Richard Shaw. Get your copy of Adam's new book now. Subscribe to Football Cliches wherever you get your podcasts from. Get FYP merchandise here: https://merch.fypfanzine.uk. Use code LAUNCH10 for 10% off. twitter: @fypfanzine facebook: FYPFanzine instagram: @fypfanzine contact@fypfanzine.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Jack Pierce-your-skin and Joooooohhe Dead-Man-Walker-ing answer your Halloween questions in the wake of wins over Aston Villa and Tottenham. Email us your 'Should Have Played For Palace XI" suggestions to contact@fypfanzine.uk or send us them on any of our social platforms. Get FYP merchandise here: https://merch.fypfanzine.uk. Use code LAUNCH10 for 10% off. twitter: @fypfanzine facebook: FYPFanzine instagram: @fypfanzine contact@fypfanzine.uk Learn more about your ad choices. Visit podcastchoices.com/adchoices

Dr. Jack Pierce realizes in shock that the VR device he's been developing allows its users to see into their future. His financier, industrialist Bill Trenton, abuses this power to run for the Senate. Jack has to stop him. Director Joseph L. Scanlan Writers Leslie StevensShawn Thompson Stars Josh BrolinKelly RowanBruce French

Solidroad, an innovative AI-powered platform dedicated to revolutionising hiring, onboarding, and training for enterprises, has successfully raised $1.2 million in a dynamic funding round. This milestone marks a significant step in Solidroad's mission to transform the way companies train their customer-facing teams. The funding round was led by an impressive lineup of investors, including Dan Kiely (co-founder of Voxpro), Jack Pierce (co-founder of Wayflyer), Ciaran Lee (co-founder of Intercom), Anne Heraty of CPL, and Louise Phelan, former PayPal executive. Their combined expertise and support underscore the transformative potential of Solidroad's technology. Solidroad was founded by Mark Hughes and Patrick Finlay, who met while working at Intercom. Mark, who previously founded and sold Gradguide, a mentorship and training platform, realised the challenges of scaling personalised training and assessment. Inspired by the transformative power of AI, he partnered with Patrick, who had showcased the impressive capabilities of AI in a language learning app he built. Their vision: to provide personalised assessment and training at scale for large enterprises using cutting-edge AI technology. "Solidroad currently is like a 'flight-simulator' for customer facing teams," explains Mark Hughes, co-founder and CEO of Solidroad. "Our software allows CX agents to practise realistic conversations with AI prospects and customers, receiving personalised performance feedback from our AI coach. This approach significantly enhances skills, reduces ramp times, and increases training effectiveness." Solidroad's platform has already garnered attention from industry leaders, with design partner customers such as ActiveCampaign, Ryanair, and Three Mobile experiencing the benefits of personalised, scalable training. The software's ability to simulate real customer interactions and deliver personalised training at scale is particularly advantageous for companies with high volumes of customer engagements and ongoing staff training needs. "We're excited to use this investment to bring our vision to more businesses, helping them improve their training processes and ultimately their customer experience outcomes," says Patrick Finlay, co-founder and CTO of Solidroad. "This funding is a testament to the hard work of our team and the trust our investors have in our potential." The newly secured funds will be used to expand Solidroad's team, accelerate product development, and advancement of AI capabilities. With a focus on providing top-notch hiring, onboarding, and training solutions, Solidroad is poised to lead the way in enterprise training innovation. See more stories here.

Become an Official Member of the Dark Art Society! https://www.patreon.com/DarkArtSociety This week my good friend and amazing artist Ryan K. Peterson discuss the history of makeup effects! Special thanks goes out to @scumchoir for the suggestion. We chat about how we became interested in makeup effects as kids and then discuss our nerdy knowledge of makeup effects starting from the early days of horror film makeup of Lon Chaney in the 1920's, Jack Pierce (and others) in the 1930's, the advent of foam latex appliances, and the many innovations of the godfather of modern makeup effects, Dick Smith up through the 1970's and more. This is part 1 of two episodes on the history of makeup effects! Part 2 will be next week! Also, a quick life update. Ryan's links: www.youtube.com/channel/UCdF03lVHfkXM4WMTmHNR-zw www.instagram.com/ryankennethpeterson/ www.facebook.com/ryan.k.peterson.7 Our sponsors: The Skull Shoppe: https://www.SkullShoppe.com Art n Glow: My affiliate link : https://www.artnglow.refr.cc/chetzar Get 10% off by using code ZAR The Dark Art Society Podcast is produced by Chet Zar. Become an Official Member of the Dark Art Society: https://www.patreon.com/DarkArtSociety Chet's Patreon: https://www.patreon.com/ChetZar The Dark Art Society Instagram: https://www.instagram.com/darkartsociety Official Dark Art Society Website: https://www.darkartsociety.com The Dark Art Society Podcast is now available in a variety of places, including the following platforms: SoundCloud: @darkartsociety iTunes: https://apple.co/2gMNUfM Stitcher: https://www.stitcher.com/s?fid=134626&refid=stpr Podbay: https://podbay.fm/show/1215146981 YouTube: https://www.youtube.com/channel/UCrQBJayd-dfarbUOFS5m7hQ https://DarkArtSociety.com Copyright Chet Zar LLC 2024

Un front protubérant, des boulons enfoncés dans le cou et une couleur de peau verdâtre : c'est ainsi que nous nous figurons le plus souvent le monstre créé par le savant Henry Frankenstein, dans le célèbre roman de Mary Shelley.C'est comme cela, en tous cas, qu'il apparaît, sous les traits de Boris Karloff, dans le film fameux de James Whale, "Frankenstein", produit en 1931 par la Universal.Mais cette apparence ne correspond pas du tout à la manière dont la créature est décrite, en 1818, par Mary Shelley. En effet, la romancière lui donne une peau jaune, un visage ridé, des dents très blanches et une abondante chevelure noire.Autre différence notable : le monstre de Frankenstein est assez disert chez Mary Shelley, alors qu'au cinéma il est incapable de parler, ne proférant que des sons inarticulés.Le chef-d'œuvre d'un grand maquilleurMais, quelques années après la parution du roman, l'aspect physique du monstre s'est déjà modifié. En effet, dans la première adaptation théâtrale de l'œuvre de Mary Shelley, due à l'auteur dramatique Richard Brinsley Peake, en 1823, l'épiderme de la créature prend une coloration tirant sur le bleu et le gris.Et, par ailleurs, c'est le premier auteur à rendre le monstre muet. Au fil des représentations du monstre de Frankenstein, la peau du personnage prend des teintes diverses, dont le vert.Mais si cette dernière couleur s'est définitivement imposée dans l'imagination populaire, c'est grâce au film de James Whale, qui aura plusieurs suites. L'inoubliable maquillage de la créature, et la couleur verte de sa peau, sont dus au talent d'un maquilleur de génie, Jack Pierce.On lui doit bien d'autres remarquables maquillages, comme celui du grand prêtre égyptien, toujours incarné par Boris Karloff, dans "La momie" (1932), de Karl Freund, ou celui du loup-garou, interprété par Lon Chaney Jr, dans le film homonyme, réalisé en 1941 par George Waggner.Si ce choix a été fait, c'est que ce maquillage vert donnait au monstre, dans le noir et blanc de l'époque, la pâleur cadavérique recherchée. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Un front protubérant, des boulons enfoncés dans le cou et une couleur de peau verdâtre : c'est ainsi que nous nous figurons le plus souvent le monstre créé par le savant Henry Frankenstein, dans le célèbre roman de Mary Shelley. C'est comme cela, en tous cas, qu'il apparaît, sous les traits de Boris Karloff, dans le film fameux de James Whale, "Frankenstein", produit en 1931 par la Universal. Mais cette apparence ne correspond pas du tout à la manière dont la créature est décrite, en 1818, par Mary Shelley. En effet, la romancière lui donne une peau jaune, un visage ridé, des dents très blanches et une abondante chevelure noire. Autre différence notable : le monstre de Frankenstein est assez disert chez Mary Shelley, alors qu'au cinéma il est incapable de parler, ne proférant que des sons inarticulés. Le chef-d'œuvre d'un grand maquilleur Mais, quelques années après la parution du roman, l'aspect physique du monstre s'est déjà modifié. En effet, dans la première adaptation théâtrale de l'œuvre de Mary Shelley, due à l'auteur dramatique Richard Brinsley Peake, en 1823, l'épiderme de la créature prend une coloration tirant sur le bleu et le gris. Et, par ailleurs, c'est le premier auteur à rendre le monstre muet. Au fil des représentations du monstre de Frankenstein, la peau du personnage prend des teintes diverses, dont le vert. Mais si cette dernière couleur s'est définitivement imposée dans l'imagination populaire, c'est grâce au film de James Whale, qui aura plusieurs suites. L'inoubliable maquillage de la créature, et la couleur verte de sa peau, sont dus au talent d'un maquilleur de génie, Jack Pierce. On lui doit bien d'autres remarquables maquillages, comme celui du grand prêtre égyptien, toujours incarné par Boris Karloff, dans "La momie" (1932), de Karl Freund, ou celui du loup-garou, interprété par Lon Chaney Jr, dans le film homonyme, réalisé en 1941 par George Waggner. Si ce choix a été fait, c'est que ce maquillage vert donnait au monstre, dans le noir et blanc de l'époque, la pâleur cadavérique recherchée. Learn more about your ad choices. Visit megaphone.fm/adchoices

Yet another 1-1 draw at Ho Ho Home with Brighton. Your host Jack Pierce discusses that game with Dom Fifield and Edmund Brack as well as answering your questions, playing another round of 321 and previewing two festive games against Chelsea and Brentford. The FYP podcast is sponsored by Greene King Sport, where football is More than a Game. Visit the Greene King Sport Instagram page for fan content, deals and competitions throughout the season: instagram.com/greenekingsport Buy a ticket to Neil Warnock's tour show at AFC Wimbledon on Saturday June 8th, 2024 at 7.30pm here: http://gotoagig.com Get 25% off Kevin Day's new book - Unfit Unfit and Improper Persons: An Idiot's Guide to Owning a Football Club - with the code FIVEYEARPLAN25 here: https://www.bloomsbury.com/uk/unfit-and-improper-persons-9781399407540/ Twitter: @fypfanzine Facebook: FYPFanzine Instagram: @fypfanzine contact@fypfanzine.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

Well hello there. Palace frustrate Man City at the Etihad yet again, this time with a 95th minute equaliser in a thrilling 2-2 draw. Joe Walker hosts this week, with Jack Pierce and Ben Long on the panel to discuss JP Mateta, Dean Henderson, answer your questions, play another round of 321 and much more. The FYP podcast is sponsored by Greene King Sport, where football is More than a Game. Visit the Greene King Sport Instagram page for fan content, deals and competitions throughout the season: instagram.com/greenekingsport Get 25% off Kevin Day's new book - Unfit Unfit and Improper Persons: An Idiot's Guide to Owning a Football Club - with the code FIVEYEARPLAN25 here: https://www.bloomsbury.com/uk/unfit-and-improper-persons-9781399407540/ Twitter: @fypfanzine Facebook: FYPFanzine Instagram: @fypfanzine contact@fypfanzine.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

Wilbur Whateley wants the Necronomicon, and although the library's closing, local coed Nancy is so entranced by Whateley that she's inclined to let him read it.  Her professor, Dr. Armitage, isn't thrilled with the idea of someone borrowing the book – even for five minutes – until he realizes who the reader is.  Eager to find out more about Wilbur, and his family history of seeking out transdimensional creatures, he invites Wilbur and Nancy to dinner.  But Wilbur's not interested in becoming one of Armitage's biographical sketches – he wants Nancy to come back to his home, drink some tea, and… stay there forever.  That's when his grandfather, Old Man Whateley arrives, causing Nancy to raise an eyebrow.  Why is he so determined to keep her away from the house?  What on the upper floors is making all those wind and ocean sounds?  And why is Wilbur so desperate to introduce Nancy to the Devil's Hopyard, a stone altar where, it is rumored, his ancestors once performed sacred rituals to call forth a race of creatures that would bring about the end of life as we know it?  Intro, Math Club, Debate Society, Hot for Teacher (spoiler-free): 00:00-27:20Honor Roll and Detention (spoiler-heavy): 27:21-1:07:56Superlatives (spoiler-heavier): 1:07:57-1:24:26 Director Daniel HallerScreenplay Curtis Hanson, Henry Rosenbaum, and Ronald Silkosky, based on the novella by H.P. LovecraftFeaturing Donna Baccala, Ed Begley, Lloyd Bochner, Sandra Dee, Beach Dickinson, Sam Jaffe, Barboura Morris, Jack Pierce, Talia Shire, Dean Stockwell John DeVore is a two-time James Beard award-winning essayist and editor. He's written about pop culture for Decider, Esquire, and Premiere (RIP), among many others. John's first memoir, 'Theatre Kids,' will hit bookstores in 2024 Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from The Dunwich Horror by Les Baxter. For more information on this film (including why the Professor chose it, on ⁠⁠⁠⁠⁠⁠Our Blog⁠⁠⁠⁠⁠⁠), the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple or Google Podcasts, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

Welcome back to A Podcask of Amontillado, where we delve into the dark, dreadful, and terrifying parts of the world. When it comes to horror characters, there are a few that are true legends. Iconic characters that have stood the test of time. Ones that came to define the genre in their now classic films, and have dominated pop culture for nearly 100 years – The Universal Monsters! To discuss these titans of terror, Erin & Gary are joined by Amy Chandler from Earth Station One. Join them as they discuss when the Universal Horror era started, the Classic Era and it's transition to Atomic Horror, the Universal films as gateway horror, lost and found scenes, the two versions of Dracula, Bela's version of the Count, how the movies were inventing cinema, the respect deserved by Dwight Fry, putting yourself in the mindset of the era, the makeup of Jack Pierce, the performances by Karloff, renaming issues, early censorship & the Hays Code, pre-code heroines, if The Mummy is actually the most powerful monster, reasonable reactions to the Undead, and Yeeting Fritz. TV Tropes on the Universal Monsters Dracula trailer  The Return of Doctor X trailer Dwight Fry's terrifying Renfield  Frankenstein's Monster meets Maria Gods and Monsters trailer Freaks trailer The Mummy 1932 & 1999 The Ring of Thoth by Arthur Conan Doyle NECA Universal Monsters figures & Funko Pop! versions Opening and closing music is "Softly Shall You Sleep," by Valentine Wolfe. Please follow us on TikTok, Discord, Instagram, and on Facebook! If you like us, please share us, and leave a review! Contact us at apodcaskofamontillado@gmail.com! A Vino, Atrocitas.

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

Frankenstein (1931): Movie Review from the Ray Taylor ShowShow topic: Dive into the classic horror genre with Ray Taylor as he revisits the monumental 1931 adaptation of "Frankenstein", brought to the silver screen under the adept direction of James Whale. This timeless tale, rooted in Mary Shelley's iconic 1818 novel "Frankenstein; or, The Modern Prometheus", transitions from page to stage to film in a fascinating evolution, with this particular version drawing inspiration from Peggy Webling's 1927 play. Join Ray as he delves into the film's narrative, exploring the poignant tale of Henry Frankenstein (played by the talented Colin Clive), an impassioned scientist driven to the extremes of human exploration, as he endeavors to craft life from the remnants of the dead. But the heart of this film truly beats in the form of the iconic creature, immortalized by Boris Karloff's unforgettable portrayal and Jack Pierce's masterful makeup design. With a supporting cast that boasts names like Mae Clarke, Dwight Frye, and Edward Van Sloan, this iteration of "Frankenstein" remains a hallmark in the annals of horror cinema.JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Ray Taylor Show - Full Week Ad Free (Audio+Video)Live Painting ArchiveEarly Access to The Many FacesMember Only Discounts and DealsPodcast Back Catalogue (14 Shows - 618 Episodes)Ray Taylor's Personal BlogCreative WritingAsk Me AnythingDaily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links Genres: Horror

Ed caught up with the ever entertaining Jack Pierce (Pierce Brothers) to have a yarn about the new single - Studio, and the groups upcoming tour of Europe. Sit back and have a laugh and a yarn with Ed for Breakfast.See omnystudio.com/listener for privacy information.

In order to celebrate this Halloween season, Mike and Allison are beginning a series of mini episodes that center around a question, relating to a single film. This one-episode-per-day series will continue until Halloween night.  Minisode #1 Frankenstein (1931) posted on 10-07-23 Question #1 By today's standards, are Jack Pierce's makeup and James Whale's special effects still scary. What (if anything) has been emulated throughout the decades, since the film's original release? 

Two games for debut host Joe Walker and panelists Grace Mathieson and Jack Pierce to review as Palace draw with Brentford (again) and beat Plymouth in the cup. They also answer your questions, return with out brand new feature '321' and preview Sunday's visit of Wolves. The FYP podcast is sponsored by Greene King Sport, where football is ‘more than a game' this season. Keep an eye out during the season for events, offers, content and competitions that put you closer to the action. Support the FYP Podcast team's efforts in this year's Palace For Life Marathon March at: https://www.justgiving.com/fundraising/fyppodcast2023 Get more from the FYP Podcast at patreon.com/fyppodcast Twitter: @fypfanzine Facebook: FYPFanzine Instagram: @fypfanzine contact@fypfanzine.uk Learn more about your ad choices. Visit megaphone.fm/adchoices

John is joined by Jack Pierce of the FYP Podcast to talk all things Crystal Palace. How will they do in the Premier League this season? Is Roy Hodgson the feistiest manager in their 70's? How will the club fill the Wilf Zaha hole? TAP IN!

Crystal Palace have decided to sack manager Patrick Vieira after 3 months without a win in the Premier League. Despite no league victory in 2023, the Eagles have only dropped one place in the standings, but are now embroiled in a relegation fight and have league leaders Arsenal up next. Palace fan Jack Pierce from The Five Year Plan podcast joins us to share his thoughts, as we also look ahead to some of the other Premier League fixtures across the weekend. Learn more about your ad choices. Visit megaphone.fm/adchoices

Erik looks in to the life and Movies of iconic special effects artist Jack Pierce.

MONSTER PARTY GOES TO WHERE THE RUBBER MEETS THE FACE! SHAWN SHERIDAN, JAMES GONIS, LARRY STROTHE, and MATT WEINHOLD, genuflect at the feet of the artform that has shaped them! Raises your glasses and man your bladder pumps, as MONSTER PARTY salutes... THE ART OF PRACTICAL EFFECTS!!! MONSTER PARTY loves practical effects! Sure, CGI is now all the rage, but nothing puts a spring in our step like seeing an actor bring life to a foam rubber makeup appliance! Or an animatronic alien wreaking havoc!! Or latex skin bubbling! Or stop motion dinosaurs! Or live action dinosaurs! Or... Sorry.  Sometimes we get a bit carried away. In this episode, we champion the genius of classic makeup legends like Lon Chaney, Jack Pierce, John Chambers, William Tuttle, and the Westmore family, as well as the groundbreaking work of trailblazers like Dick Smith, Rick Baker, Rob Bottin, and Stan Winston. And in the SFX category, we've always got some love for greats like Willis O' Brien, Ray Harryhausen, and Eiji Tsuburaya!  Joining us for this parade of practical praise, is a guest who knows of what he speaks He's an Emmy Award-winning makeup FX artist, who has worked on such iconic  projects as JOHN CARPENTER'S THE THING, LEGEND, THE INCREDIBLE HULK TV MOVIES, CRITTERS, TREMORS, COMMUNION, STAR TREK: THE NEXT GENERATION, STAR TREK: DEEP SPACE NINE, MEN BLACK, CSI, and MORE! Please welcome our new mega-talented monster kid friend .. JOHN GOODWIN! AND... IF YOU ENJOYED THIS EPISODE (HOW COULD YOU NOT?), PLEASE CHECK OUT OUR SPECIAL "PATREON ONLY" EPISODE WITH JOHN GOODWIN AT THE VALLEY RELICS MUSEUM! IT'S THE PRACTICAL THING TO DO.

Welcome to the Horror Project Podcast. Join hosts Phil and Laura as they review The Wolf Man (1941).This week we step back 80-years, to check out Universal Studio's ultimate hairy dog-boy! We discuss all things werewolf, the look of Larry Talbot's alter-ego, plus his questionable use of a telescope. But does a film of this vintage, still have the power to entertain today?Plus we shall be finding a place on the leaderboard for the movie during our Ranking. We also reveal some fun trivia facts along the way.We hope you enjoy the show, thanks for listening!Email - Horrorprojectpodcast@hotmail.com  Twitter - @TheHorrorProje1Instagram - horrorprojectpodcastTikTok - @horrorprojectpodcast

GGACP celebrates Halloween 2022 with this ENCORE of a 2019 interview with Emmy and Oscar-winning makeup master Rick Baker. In this episode, Rick talks about local horror hosts, gorilla suits, Aurora model kits, "Famous Monsters of Filmland" and the enduring influence of makeup legends Jack Pierce and Dick Smith. Also, Eddie Murphy ups his game, Milicent Patrick gets her due, Rick transforms Martin Landau into Bela Lugosi and Christopher Lee dresses up as...Christopher Lee. PLUS: "The Thing with Two Heads"! In praise of Ray Harryhausen! The ingenuity of Lon Chaney! The guerilla cinema of Larry Cohen! And Rick accepts an Oscar from Vincent Price! (Special thanks to our friend Patton Oswalt) Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on the blog, a podcast interview with Dawn Brodey and Brian Forrest, talking about the various film versions of “Frankenstein” and “Dracula.”Dawn gave me 4.5 films to revisit: The 1931 version of Frankenstein, Frankenweenie (the feature and the short), Mary Shelley's Frankenstein, and Young Frankenstein.Meanwhile, Brian assigned me the original Nosferatu, the 1931 Dracula, Abbott & Costello Meet Frankenstein, Horror of Dracula, Dracula in Istanbul and Bram Stoker's Dracula. LINKSDawn's podcast (HILF): http://dawnbrodey.com/ - showsBrian's Blog and Vlog, Toothpickings: https://toothpickings.medium.com/ A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Frankenstein (1931) Trailer: https://youtu.be/BN8K-4osNb0Frankenweenie Trailer: https://youtu.be/29vIJQohUWEMary Shelley's Frankenstein (Trailer): https://youtu.be/GFaY7r73BIsYoung Frankenstein (Trailer): https://youtu.be/mOPTriLG5cUNosferatu (Complete Film): https://youtu.be/dCT1YUtNOA8Dracula (1931) Trailer: https://youtu.be/VoaMw91MC9kAbbott & Costello Meet Frankenstein (Trailer): https://youtu.be/j6l8auIACycHorror of Dracula (Trailer): https://youtu.be/ZTbY0BgIRMkBram Stoker's Dracula (Trailer): https://youtu.be/fgFPIh5mvNcDracula In Istanbul: https://youtu.be/G7tAWcm3EX0Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastDawn and Brian TRANSCRIPT John: [00:00:00] Before we dive into the assignment you gave me—which was to watch stuff I hadn't seen and also rewatch stuff I had seen to get a better idea of who's done a good job of adapting these books—let's just jump in and talk a little bit about your area of expertise and why you have it. So, I'm going to start with you, Brian. I was very surprised after working with you a while to find out that you had a whole vampire subset in your life. Brian: A problem, you can call it a problem. It's fine. John: Okay. What is the problem and where did it come from? Brian: I was just vaguely interested in vampires for a while. When I was in my screenwriting days, someone had encouraged me to do a feature length comedy about vampires, and that led me to do a lot of reading. And then I just kind of put it aside for a while. And then I was, I had just finished a documentary for Committee Films and they said, do you have any other pitches? And I thought, and I said, you know, there's still people who believe in vampires even today, that could be really interesting. And I put together a pitch package. Then, the guy in charge of development said, [00:01:00]this is what we need to be doing. And then it stalled out. Nothing ever happened with it. And I said, what the hell. I could do this on my own. I could fly around and interview these people. And I did, I spent a couple years interviewing academics and some writers. And along the way, I started finding all these very intriguing moments in the history of either vampire lore or fiction or even just people who consider themselves vampires today. And all these things would connect to each other. It was a lattice work of vampires going back hundreds of years. It didn't fit the documentary, unfortunately, but I found it way too interesting. And I said, I need some kind of outlet for this. And so I started writing about it on Tooth Pickings. And that eventually put me in touch with people who were more scholarly, and it opened up a lot more conversations. And now I can't get out. I'm trapped. John: Well, the first sign is recognizing there's a problem. [00:02:00] Okay. Now, Dawn, you had a different entryway into Frankenstein. Dawn: Yeah, well, I was a theater major and a history minor at the University of Minnesota. Go Gophers. And, this was in the late nineties, early two thousands, when there were still a lot of jobs for people who had degrees and things like this. Or at least there was a theory that this was a reasonable thing to get educated in. And then I graduated in 2001, which was months after 9/11, when all those jobs went away. And so, I had this education so specific and what was I gonna do? And gratefully the Twin Cities is a great place for finding that kind of stuff. And one of my very first jobs out of college was at the Bakkan museum. So, the Bakkan museum was founded by Earl Bakkan, who is the inventor of the battery-operated pacemaker. And he has always, since childhood, been obsessed with the Frankenstein movie that came out in 1931. And he attributes [00:03:00]his great scientific invention and many others to a science fiction in general. And to the spark of the idea that comes from sources like this. So, when he opened the museum, he insisted that there'd be a grand Frankenstein exhibit. And that means going back to the book, and that meant going back to the author, Mary Shelley, who wrote the novel Frankenstein, she started writing it when she was 16.And so, I was hired because—boom, look at me—my degree is suddenly colliding, right? So, I was hired by the Bakkan museum to create a one-woman show about the life of Mary Shelley, where I would play Mary Shelley and would perform it within the museum and elsewhere. And through the course of that research, I read the novel for the second time, but then I read it for my third, fourth, fifth onwards and upwards. Because the show was about 45 minutes long, I referenced, you know, the novel, the books, the popular culture, the science behind it. And the deep dive just never stopped. And so long after I was required to do the research and the show was done and up, I just kept reading. [00:04:00] And it gave me the opportunity to meet experts in this field and the peripheral field, as I would sort of travel with this show and be an ambassador for the museum and stuff like that. And, yeah, it still curls my toes. John: All right, so with that background. I'm going to just be honest right here and say, I've read Dracula once, I've read Frankenstein once. So that's where I'm coming from, and both a while ago. I remember Frankenstein was a little tougher to get through. Dracula had a bit more of an adventure feel to it, but something I don't think has really been captured particularly well in all the movies. But they both have lasted and lasted and lasted.Why do you think those books are still, those ideas are still as popular today? Dawn: I will say that I think Frankenstein, it depends on what you mean by the idea. Because on the surface, just the idea of bringing the dead to life, is, I mean, the Walking Dead franchise is right now one of the most popular franchises. I mean, I think we are really pivot on this idea. And I remember saying to a friend once that the part in [00:05:00]Revelation where the dead rise is like the only part of the Bible that I don't question. It's like, oh, the dead will get up. You know, we always just seem to be real sure that at some damned point, they're getting up. And so I think that that is part of why that it sticks in our brains. But then the story around Frankenstein—especially as it was written in 1818—has so many universal and timeless themes, like ambition and what is right and wrong. And the question that Jurassic Park posed in 1995 and continues to—1993 around there—and continues to pose, which is: just because science is capable of doing something, should it do something? And how do we define progress? Surely the very idea of being able to beat death and not die seems to be kind of the ultimate goal. And here is someone saying, okay, so let's just say, yeah. We beat death and everyone goes, oh shit, that'd be terrible. [00:06:00] You know? And then also, I always love the idea of the creature, the monster, Frankenstein's creature himself, who has a lot of characteristics with which people have identified throughout history. Some people say, for example, that Mary Shelley's whole purpose for writing Frankenstein was a question of: didn't God do this to us, make us these ugly creatures that are imperfect and bumbling around and horrifying? And then once he realized that we weren't perfect, he fled from us in fear or fled. He just keeps going and every generation has a new media that tells the story a little bit better, a little bit different, and yeah, there we are. John: I will say that for me, the most memorable part of the book was the section where the monster is the narrator and is learning. And I think with the exception of Kenneth Branagh's film, it it's something that isn't really touched on that much. There's a little bit in Bride of Frankenstein, of him going around and learning stuff. But the sort of moral questions that he [00:07:00] raises as he's learning—what it is to be human—are very interesting in the book. And I wish they were in more of the movies, but they're not. So, Brian on Dracula, again, we have dead coming to life. Why do we love that so much? Brian: Well, it's one of the questions that made me want to make a film about it myself: why has the vampire been so fascinating for hundreds of years? Why does it keep coming back? You know, it ebbs and flows in popularity, but it never leaves. And it keeps seeming to have Renaissance after Renaissance. Dracula specifically, I think one of the interesting things about that novel is how many different lenses you can look at it through and not be wrong.People have looked at it through the lens of, is this thing an imperialist story? Is it an anti-imperialist story? Is it a feminist story? Is it an anti-feminist story? And you can find support for any of those views reading Dracula. And I think that some of it might be accidental; there's times where Dracula is catching up to whatever the cultural zeitgeist [00:08:00] is right now. And we look at Dracula and we say, oh, he was thinking about this back then. Or maybe Bram Stoker was just very confused and he had a lot of different ideas. John: All right, let's explore that a little deeper. You each gave me an assignment of some movies to watch or to re-watch that you felt were worth talking about, in relation to your subject of Frankenstein or Dracula. I'm going to start with Frankenweenie, just because I had not seen it. And in going through it, I was reminded—of course, as one would be—of watching Frankenweenie, I was reminded of Love, Actually. Because I came to the realization after years of Love, Actually being around that it—Love, Actually—is not a romantic comedy. It is all romantic comedies, all put into one movie. And Frankenweenie is all horror films. Condensed, beautifully and cleverly into one very tasty souffle. [Frankenweenie Soundbite] John: I stopped at a certain point making note of the references to other horror films. Just because there are so many of them. But the idea that it references everything from Bride of Frankenstein to Gremlins. They do a rat transformation that's right out of American Werewolf in London. The fact that they have a science teacher played by Martin Landau doing the voice he did as Bela [00:10:00] Lugosi in Ed Wood. I mean, it's a really good story that they just layered and layered and layered and layered. What was it about that movie that so captivated you? Dawn: Well, so much of what you just said. And also it seems to me the epitome of the accessibility of the story of Frankenstein. The idea that if anyone can think of any moment in which if I could bring someone back to life. But what I love about it too, is that the novel Frankenstein that is not Victor Frankenstein's motivation. It generally tends to be the motivation of almost every character, including the Kenneth Branagh character--at some point, he, when Elizabeth dies, his wife dies for the second time, he says, yes, I'm going to try to bring her back. But it is so not the motivation of the scientist in the book. It is just ambition. He just wants to do something no one else has done. And lots of people die around him and he really never, ever says to himself at any point in the novel, I wish I could bring them back, I'm going to bring them back. That's never, that's never part of it. He just wants to be impressive. And so, I love [00:11:00] that it starts with that pure motivation of wanting to bring the dead to life; just wanting to bring your dog back, so that it's so accessible for everyone watching it. Who wouldn't wanna try this? But then, even in that scene with the teacher, when he shows the frog. And he's demonstrating that if you touch a dead frog with electricity, its legs shoot up, which give the kid the first idea of bringing his dog back. Which is like a deep cut in, in the sense that that's nothing -- Mary Shelley herself and her friends were watching experiments exactly like that before she wrote the book: galvanism and animal magnetism were these really popular public demonstrations happening in London and elsewhere where they would do just that. But because electricity itself was so new, I mean, it blew people's hair back you know, that these dead frogs were flopping around. It was the craziest thing. And a lot of them were thinking to themselves, surely it is only a matter of time before we can, we're gonna have our dead walking around all the time. So, it was so circulating and so forward. [00:12:00] So it's not just movie references and it's not just Frankenstein references. That movie really includes source deep source references for how Frankenstein came to be. And I just love it. John: Which brings me to Frankenstein, the 1931 version, in which Colin Clive has a similar point of view to what you were talking about from the book. He just wants, you know, he wants to be God. [Frankenstein soundbite] John: What I was most impressed with about that movie or a couple things was: it starts, it's like, boom. We're in it. First scene. There there's no preamble. There's no going to college. There's no talking about it, right? It's like, they're starting in the middle of act two. And I think a lot of what we think of when it comes to Frankenstein comes from that movie, [00:13:00] that the stuff that James Whale and his cinematographer came up with and the way they made things look, and that's sort of what people think of when they think of Frankenstein. Now, as you look back on that movie, what are your thoughts on the, what we'll call the original Frankenstein? Dawn: Yeah. Well, I love it. You'll find with me and Frankenstein that I'm not a purist. Like I love everything. Like I have no boundaries. I think this is great. One of the things that 1931 movie did was answer—because it had to, anytime you take a novel and make it a movie, you take a literary medium and make it a visual medium, there's obviously going to be things that you just have to interpret that the author left for you to make for yourself individual. And in this instance, that individual is the cinematographer. So, we're gonna get their take on this. And one of the real ambiguous things that Mary Shelley leaves for you in the novel is the spark of life. What is the spark of life? She does not in any [00:14:00]detail describe lightning or static or any of the recognizable or, or future developments of how electricity would've been. Brian: I was shocked when I first read that book and saw how little space was devoted to that, that lab scene. It's blink of an eye and it's over. Dawn: “I gathered the instruments of life around me that I may infuse a spark of being into the lifeless thing that lay at my.” Period. I just, what I love is what I love about film in general is that they went, oh, spark being all right, girl, it's a dark and stormy night and you know, and there's chains and there's bubblers and there's a thing. And the sky opens. I mean, God bless you, like way to just take that thought. Make it vivid, make it, build a set, make us believe it. And it's so, so pervasive that in Frankenweinie, you know, which of course is about Frankensein. [00:15:00] Like that is one that they do: he's got the white robe that ties in the back and the gloves. And in Young Frankenstein, it's the, you know, that lab scene. And so I love that. And the other thing that they had to do was describe the look of the creature, make the creature—Frankenstein's monster himself—look so like something. Because she, similarly in the novel, says that he is taller than a regular man, has dark hair and yellow watery eyes. That's all we know about what the Frankenstein looks like. And so, in 1931, Boris Karloff with the bolts. And it's black and white, remember, we don't think his skin is green. That he turned green at some point is kind of exciting, but of course he was just gray, but just dead flesh, you know, rotten, dead walking flesh is what's frightening. And, I just thought that the movie did that so well, John: I think the makeup was kind of a green/gray, and that when color photos came out of it, that's why someone went, oh, [00:16:00] it's green, but it wasn't green. Brian: I thought I saw a museum piece of, you know, an actual makeup bit that Jack Pierce did and I thought it was greenish. Dawn: Yeah. Greenish/gray. I think, yeah, the rots, just kind of trying to capture the sort of rotten flesh. Brian: It's just like the bride's hair was red. Dawn: That's right. That's right. My day job here in Los Angeles is as a street improviser at Universal Studios, Hollywood. And two of their most treasured characters of course are Frankenstein and Dracula. So, while most people might separate them, John, they are usually arm and arm where I work every day. And the bride has recently come back to the theme park as a walking character, and they gave her red hair. We don't mess around. John: That's excellent. But you mentioned Dracula, let's jump into the 1931 Dracula. There's a connection point between the two that I want to mention, which is the amazing Dwight Frye, who is Fritz, I believe in Frankenstein. And I'm not the first one to mention his naturalistic [00:17:00] acting kind of putting him above everybody else in that movie. Famously, when he's running up the stairs, stopping to pull his socks up at one point. He's just really, really good in that. And then you see him in Dracula as the, essentially the Harker character. I think he was called Harker -- Brian: Yeah. Well, he's Renfield in Dracula. They merged those two characters. I thought it was a smart move for a first attempt at the film. Yeah. And Dwight Frye, he's in a lot of other Universal horrors, too. Dwight Frye often doesn't get the credit. He somehow was not the leading man he should have been. John: I don't know why that is. He turns up again as an assistant in Bride of Frankenstein. He's a towns person in Frankenstein meets the Wolfman. And then he tragically died on a bus ride to an auto parts job that he took because he wasn't getting any acting work, which was too bad. A really, really good actor. Brian: There is another intersection besides the fact that they were both produced by Junior. Lugosi was put into the [00:18:00] short, the trial film they shot for Frankenstein. I can't call it a short film, because it was never intended for release. But they shot a cinematic test reel and they had Lugosi play the monster, but he was under a sheet the whole time. I think he may have been able to pull the sheet off. It's a lost film. We don't know for sure. We just have kind of the recollections of a few crew people. John: I've never heard of that. I would love to see that. Brian: I would too. I think a lot of people would really love to see it, but it was as much a kind of a testing ground for Lugosi— whether they wanted him to be the monster—as it was for some of the techniques, the things they wanted to try in the film. And what I understand is the producer saw the test reel and they said, yes, we love this look, this is the look we want you to give us. And then it's whatever version of Lugosi not getting that part you want to believe: whether Lugosi turned it down or the producers didn't like him or something. But he ended up not taking that part. John: But he is of course always known as Dracula. So, what are your thoughts on their adaptation? Which [00:19:00]again is not the first adaptation but is the kind of first official? Brian: Yeah. The first to bear the name Dracula, although, well, I'll back up a second. Because some releases of Nosferatu called it Dracula. He would be named as Dracula in the subtitles, you know, because that's an easy thing to do in silent film, you can just swap that out however you want to. But yes, it's the first authorized official film adaptation. John: Well, let's back up to Nosferatu, just for a second. Am I wrong in remembering that the Bram Stoker estate—Mrs. Stoker—sued Nosferatu and asked that all prints be destroyed? And they were except one print remained somewhere? Brian: Close. That is the popular story that she sued Prana Films. She won the lawsuit. All films were set to be destroyed. Now there's a guy named Locke Heiss and a few others who've been doing some research on this. And they will tell you that there's no proof that a single print was ever destroyed. It's a more fun story to say that, you know, this one was snuck away and now we have the film. But there was no real enforcement mechanism for having all the theaters [00:20:00]destroy the film. Who was going to go around and check and see if they actually destroyed this film or not? Nobody, right? So maybe some people destroyed it. Maybe Prana Films destroyed their remaining copies. But the exhibitors kept all of theirs and there's different versions and different cuts that have been found. So, we know that some of these reels went out in different formats or with different subtitles or even different edits. And some of them have made their way back to us. John: There's some really iconic striking imagery in that movie. That haunts me still. Brian: What I always tell people is see the film with a good live accompaniment, because that still makes it hold up as a scary film. If you see a good orchestra playing something really intense when Orlok comes through that door. It feels scary. You can feel yourself being teleported back to 1922 and being one of those audience people seeing that and being struck by it. John: What do you think it would be like to have [00:21:00] seen that or Dawn to have seen the original Frankenstein? I can't really imagine, given all that we've seen in our lives. If you put yourself back into 1931, and Boris Karloff walks backwards into the lab. I would just love to know what that felt like the first time. Dawn: You know, what is so great is I was fortunate enough to know Earl Bakkan who saw the movie in the theater in Columbia Heights, Minnesota when he was 10 years old.And he went, he had to sneak in. People would run outta this, out of the theater, screaming. I mean, when they would do the close up of Frankenstein's Monster's face, you know, women would faint. And of course that was publicized and much circulated, but it was also true. People were freaking out. And for Earl Bakkan—this young kid—the fear was overwhelming, as you said. And also in this theater, I was lucky enough, I did my show in that theater for Earl and his friends on his 81st birthday. So, I got to hear a [00:22:00] lot of these stories. And they played the organ in the front of the curtain. Brian: Is this the Heights theater? Dawn: Yes, the Heights. Brian: Oh, that's an amazing space. Dawn: So, they played the organ in there and it was like, oh my God. And it was so overwhelming. So, I'm glad you asked that question because I was really fortunate to have a moment to be able to sort of immerse myself in that question: What would it have been like to be in this theater? And it was moving and it was scary, man. And yeah, to your point, Brian, the music and the score. I mean, it was overwhelming. Also, I think there's something that we still benefit from today, which is when people tell you going in this might be way too much for you, this might scare you to death. So just be super, super careful. And your heart's already, you know… John: And it does have that warning right at the beginning. Dawn: Yeah. Versus now when people sit you down, they're like, I'm not gonna be scared by this black and white movie from 1931. And then you find yourself shuffling out of the bathroom at top speed in the middle of the night. And you're like, well, look at that. It got me. Brian: That reminds me, there [00:23:00] was a deleted scene from the 1931 Dracula that was a holdover from the stage play. Van Helsing comes out and he breaks the fourth wall and he speaks directly to the audience. And he says something to the effect of—I'm very much paraphrasing—about how we hope you haven't been too frightened by what you've seen tonight, but just remember these things are real. And then black out. And they cut that because they were afraid that they were really going to freak out their audience. Dawn: It's like a war of the world's thing, man. It's oh, that's so great. I love that. [Dracula Soundbite] John: So, Brian, what is your assessment of the 1931 version? As a movie itself and as an adaptation of Stoker's work? Brian: The things they had to do to try to adapt it to film, which they borrowed a lot of that from the stage play. They used the stage play as their guide point, and I think they made the best choices they could have been expected to make. You know, there's a lot of things that get lost and that's unfortunate, but I think they did a decent job. I don't find the 1931 version scary. I like Bela Lugosi. I think he's a great Dracula. I think he set the standard. With the possible [00:25:00]exception of the scene where the brides are stalking Harker slash Renfield, I don't think the imagery is particularly frightening. The Spanish version, I think does a little bit better job. And you know the story with the Spanish version and the English version? Dawn: We actually talk about it on the back lot tour of Universal Studios. Because they shot on the same sets in some cases. Brian: Yeah. My understanding is that Dracula shot during the day, Spanish Dracula would shoot at night. So, they got to benefit maybe a little bit by seeing, okay, how is this gonna be shot? How did Todd Browning do it? Okay. We're gonna do it a little bit differently. It's a little bit of a cheat to say they move the camera. They do move the camera a lot more in the Spanish version, but the performances are a little bit different. I'm going to, I can't get her name out. The actress who plays the ingenue in the Spanish Dracula, I'm not going to try it, but you can see her kind of getting more and more crazed as time goes on and her head is more infected by Dracula. You see these push-ins that you don't see in the English version. There's blocking [00:26:00] that's different. I put together a short course where I was just talking about how they blocked the staircases scene. The welcome to my house, the walking through spider web. And how it's blocked very differently in the two versions. And what does that say? What are these two directors communicating differently to us? In one, Harker slash Renfield is next to Dracula. In one, he's trailing behind him. In one, we cut away from the spider web before he goes through. And in the other one, we see him wrestle with it. That's not really what you asked, John. Sorry, I got off on a tear there. John: I agree with you on all points on the differences between the two films. Although I do think that all the Transylvania stuff in the English version is terrific: With the coach and the brides. The Spanish version, the biggest problem I have is that their Dracula looks ridiculous. Brian: He's not Bela Lugosi. You're right. John: He looks like Steve Carell doing Dracula and there is no moment, literally no moment [00:27:00] where he is scary, whereas Lugosi is able to pull that off. Brian: There's a lot of people who have observed that the Spanish Dracula would be a superior film were it not for Bela Lugosi being such an amazing Dracula in the English version. John: He really, really nailed it. Brian: And since he learned his lines phonetically, he could have done the Spanish Dracula. Just write it out for him phonetically, because he didn't speak English very well. John: If we could just go back, you know, cause a lot of things in history we could change, but if we could just be at that meeting and go, Hey, why not have Bela do it? Okay. So then let's jump ahead, still in Dracula form, to Horror of Dracula. From 1958. With Christopher Lee as Dracula and Peter Cushing as Van Helsing. [Soundbite from Horror of Dracula] Brian: For some people, Lee is the ultimate Dracula, and I think that's a generational thing. I think he's great. He's got the stage presence and I love Peter Cushing as Van Helsing. I don't like the film as a whole. It feels like I'm watching a play with a camera set back. It doesn't work for me the way it works for other people. That is personal taste. Don't come after me. John: It does, however, have one of the greatest, ‘Hey, we're gonna kill Dracula' scenes ever, with Peter Cushing running down the table and jumping up and pulling down the drapes and the sun. Brian: Oh, right. Interesting. Because in Dracula, the book, the sun is not deadly, remotely really. But that's [00:29:00]the influence of Nosferatu being pasted onto the Dracula cannon, that the sunlight is deadly to Dracula. Dawn: I remember having this fight very enthusiastically in the nineties when Bram Stoker's/Winona Ryder's Dracula came out and I was already sort of a literary nerd. And they were like, hey, they have a scene with him walking around during the day. And I was like, yeah, nerds. That's right. That's cuz vampires can walk around during the day.I was very already, like, you don't know anything, go back to history. Brian: And there's a seventies version where he's out on a cloudy day, but he is not hurt either. There suggestions in the book that he's more powerful at night. Dawn: He's a creature of the night. I always understood he had to wear sunglasses. He was sort of like a wolf. Like they show him as a wolf during the day; it can happen, but it's not great. Brian: I like the way they did it in the Gary Oldman version. He's suited up. He's got the sunglasses on. There's not a whole lot of skin exposed. But he's not [00:30:00] going to turn into smoke. John: Well, okay. Let's talk about that version and Kenneth Branagh's version of Frankenstein. Dawn: Ug. John: I'm not going to spoil anything here, when I say it doesn't sound like Dawn cared it. Dawn: You open this, you opened this can of worms. John, sit down for a second. Listen. He calls it: Mary Shelly's fucking Frankenstein. I inserted the fucking. I'm sorry, I wasn't supposed to say that. He calls it. He calls it. How dare you, Kenneth, Brannagh, call this Mary Shelley's Frankenstein. So that was A-number one. But I went into it all excited: It's Kenneth Brannagh. Love him. He calls it Mary Shelley's Frankenstein and he starts with the ship captain out at sea, just like the book. And so I pull up my little, you know, security blanket and I'm like, oh, Kenneth Brannagh, do this to me, buddy. Do it to me buddy. Show me Mary Shelley Frankenstein as a movie. [00:31:00] And then he just fucks it up, John. And he doesn't actually do that at all. It's a total lie. He screws up every monologue. He makes up motivations and then heightens them. And it's dad. The acting is capital B, capital A, capital D across the board. Everybody sucks in this movie. It looks bad. The direction is bad, and it has nothing to do. He tries to bring Elizabeth back to life. This is a huge departure from Mary Shelley's Frankenstein. Thank you very much, Mr. Brannagh, that's all I have to say for now. John: All right, I was fooled by the fact that he started at, at the north pole. Dawn: That's because he's tricking us, John. That's because it's the whole movie is a lie. John: Okay with that same mindset, what do we think of Bram Stoker's Dracula by Francis Ford Coppola? Dawn: I love that one. Brian: I'm afraid that I don't have, I can't match Dawn's intensity in either respect. Um, except I thought Robert DeNiro [00:32:00] was really good in Frankenstein. Dawn: But that's no, he's not. you're wrong. Your opinion is valid and wrong. Yeah, I'm kidding for listeners who don't know me. I am, I am kidding. Of course. Everybody's opinion is valid except for that one. Yeah. The movie, everything about that movie is bad. John: He is, I think, miscast. Dawn: And Helen Bonan Carter is one of the finest actresses of not just our generation, but of all time. And she sucks in this movie. John: Right. So. Bram Stoker's Dracula. Brian: Bram Stoker's Dracula. [Soundbite: Bram Stoker's Dracula] Brian: Also produced by Branagh. And I assume that is the connection, why they both start with the author's name. I always call it Coppola's Dracula because it gets too confusing to make that distinction. I thought it was a decent movie, but it didn't feel like Dracula. It felt like someone who had heard of Dracula and wrote a good script based on what they had heard. So many divergences that bothered me, although I think it's aged better than it felt the first time. I remember seeing it when it first came out in the nineties and not thinking much of it. And I think audiences agreed with me and it seems like it's been kinder, that audiences have been kinder to it as it's gotten older. John: Okay. Dawn, you love it. Dawn: I loved it. I loved it. It, you know what though? That was one of [00:34:00] those movies that unlike, unlike Mary Shelley's Frankenstein, I can't look at with like an adult critical eye because I, what year did it come out? Was it like 90, 92? I'm like middle school getting into high school and like Winona Ryder was everything. Vampires are everything. I mean, Gary Oldman is the, is a great actor and it's so sexy, very sexy. The sex is Primo. And so I remember loving it, very moving. I don't remember comparing it as certainly not as viciously to the novel because I read Dracula after I had seen the movie. And so there's always that inherent casting where Nina is always going to be Winona Ryder. But I do remember really loving the Gothic convention of the letter and that the movie did seem to utilize and to great effect how letter writing can build suspense and give us different perspectives in a, in a unique cinematic way. Brian: [00:35:00] The two or three biggest stakes that film puts in the ground are not to be found in the book. So there's no love story in the book. There's no Vlad in the book. John: Can I interject there? Isn't that basically, didn't they just rip that off of Dark Shadows, The idea of my long lost love is reincarnated in this woman. I must connect with her. Brian: That is a good question, John. I'm glad you asked that because I call it the doppelganger love interest. Right? We first see that, the first time I know of it happening, I'm sure there's an earlier precedent, is in The Mummy, but then Dark Shadows does it. But that's not where Stoker, I mean, that's not where Coppola and a screenwriter claimed to have gotten the idea. They claimed to have gotten it from Dan Curtis's Dracula in 74. John: Dan Curtis, who produced Dark Shadows, with Barnabas Collins, falling in love with his reincarnated love. Brian: But Dan Curtis's Dracula comes out two years after Blacula. That has a reincarnated love interest. John: Not only does the Blaclua [00:36:00] have a reincarnated love interest, but if I'm remembering movie correctly at the end, when she says I don't want to go with you. He goes, okay. And he's ready to go home. It's like, sorry to bother you. Brian: No, uh, in Blacula, he commits suicide John: Oh, that's it? Yeah. He walks out into the sun. Brian: He goes home in a different way. John: Yes. He's one of my favorite Draculas, the very stately William Marshall. Brian: Yeah, absolutely. That is a favorite of mine. John: Anyway, you were saying stakes in the ground from Coppola's Dracula. Brian: Well, the, the love story, the equating Dracula with Vlad the Impaler. And I felt like they did Lucy really bad in that movie. They had her turn into a wanton harlot, which is not in keeping with the book. Some things are okay, but they really said these are the building blocks of our story and that bugged me. But Anthony Hopkins I liked, so, all right. Dawn: Alright, but see, this [00:37:00] the itch that still that still makes me wanna scratch though: why say Bram Stoker's Dracula? Why say Mary Shelley's Frankenstein? I mean, because I think you heard the venom, obviously. If they took Mary Shelley's name off that thing, you can make Frankenweenie. And I will love, like, I love Frankenweenie. Do your Frankenstein homage all day, all the time. But when you call, when you say it's Bram Stoker's, I think that this is what has been frustrating historians like me and getting high school students Ds in English class ever since. Because it just creates the false perception that you've basically read the book. Right. Or that you, if you know the thing you know the book and it's just a cheap ploy. And I don't like it. Brian: I think, somebody correct me on this, that there, there had been a plan to do a reboot of the Universal monster franchise, and these two movies were supposed to be the reboot of it. [00:38:00] And then they would've then done HG Wells' Invisible Man. John: The Mummy killed it. They've tried to reboot it several times. And that was the first attempt. Brian: Yeah, I've heard that called the dark universe. They were trying to do their own MCU. Dawn: Yeah. Well, at Universal Studios, there is of course in, in LA, in general, there's the property wars, you know? What what's, who has what? And sometimes those get really blurred. Like why does Universal Studios have Harry Potter? When we can see Warner Brothers from the top of our wall/ And that's obviously, you know, those things happen. But when it comes to like the IP or intellectual property, those original monsters are so valuable and they always are at Halloween. And then it's like, sort of, how can we capitalize on this? And yeah. And it's cross generational. Brian: All they really own right now is the look right? They own Jack Pierce's makeup job from Frankenstein. Dawn: But I think that that's exactly the point; [00:39:00] the delusion of what is it that you own if you own, you know, Frankenstein, whatever. But yes, there was definitely an interest to sort of revamp all of the original Universal Monsters they call them and it's the Mummy, Frankenstein, Dracula, and the Invisible Man. John: It's everybody who shows up in Mad Monster Party. Dawn: Exactly. [Soundbite: Mad Monster Party] Dawn: But yeah, The Mummy, starring Tom Cruise, was a tremendous flop. And I think that sort of took the wind out of everybody's sails. John: Let me ask you this, Dawn. If Mel Brooks had titled his movie, Mary Shelley's Young Frankenstein, instead of Mel Brooks' Young Frankenstein, would you have a problem with that? Dawn: Yeah, no, but no, I would not have had a problem, because that would've been irony and juxtaposition. Not just a straight lie. John: So that brings us to some comedies. Young Frankenstein and Abbott and Costello meet Frankenstein, which I was very surprised and a little unnerved to [00:40:00] realize a few years back, Abbott and Costello meet Frankenstein was made a mere 10 years before I was born. And I had always assumed it was way back then. And it's like, no, it wasn't all that way back then. It was pretty, pretty recently. Brian: That happened to me when I realized that Woodstock was only six years before my birth. And it always seemed like ancient history. John: Is that the common thing, Madame Historian? That people kind of forget how recent things were? Dawn: Oh yeah. Remember Roe V. Wade. Sorry, too soon. Brian: We're recording this on that day. Dawn: Yeah, absolutely. I think that it happens to everybody so much faster than you think it's going to. I remember looking around in the nineties feeling, well, surely the seventies was ancient history, you know, because they had That Seventies Show, which debuted as like a period piece. I am still very young and hip and happening and [00:41:00] they are in production for That Nineties Show right now. And I said to my husband, That Nineties Show. I was like, Jesus, I guess that's 20 years because I was in the nineties they did That Seventies Show. And he goes, no baby that's 30 years. And I was like, I'm sorry. I said, I'm sorry, what? He goes, the nineties was 30 years ago. And I just had to sit down and put my bunion corrector back on because these feet are killing me. John: All right. Well, let's just talk about these two comedies and then there's a couple other things I wanna quickly hit on. What are our thoughts on, let's start with Young Frankenstein? [Soundbite: Young Frankenstein] Dawn: I told you I'm not an idealist and we're not a purist about Frankenstein, but I am an enthusiast. So that is why I told you to watch Kenneth Branagh's movie, even though I hate it so much. And that is also why I love Young Frankenstein, because I think that it is often what brings people into the story. For many, many people, it introduces them to the creature. They may know literally nothing about Frankenstein except for Young Frankenstein. And that's actually fine with me because I'm a comedian myself. And I believe that parody is high honor. And often when you parody and satirize something, especially when you do it well, it's because you went to the heart of it. Because you got right in there into the nuggets and the creases of it. And there is something about Young [00:43:00] Frankenstein as ridiculous as it is that has some of that wildness and the hilarity and The Putting on the Ritz. I did find out from my Universal Studios movie history stuff, that that scene was very nearly cut out. Mel Brooks did not like it. And he just didn't like that they were doing it. And of course it's the one, I feel like I'm not the only one who still has to make sure that my beverage is not only out of my esophagus, but like aside, when they start doing it. [Soundbite: Young Frankenstein] Brian: And I understand they were about to throw away the sets from the 1931 Frankenstein when Mel Brooks or his production designer came up and said, Stop stop. We want to use these and they were able to get the original sets or at least the set pieces. John: I believe what it [00:44:00] was, was they got Kenneth Strickfaden's original machines. Ken Strickfaden created all that stuff for the 1931 version and had been used on and off, you know, through all the Frankenstein films. And it was all sitting in his garage and the production designer, Dale Hennessy went out to look at it because they were thinking they had to recreate it. And he said, I think it still works. And they plugged them in and they all still worked. Brian: Oh, wow. Dawn: Oh man. It's alive. John: Those are the original machines. Dawn: I didn't know that. That's fantastic. John: At the time when I was a young kid, I was one of the few kids in my neighborhood who knew the name Kenneth Strickfaden, which opened doors for me. Let me tell you when people find out, oh, you know of the guy who designed and built all those? Oh, yes. Oh, yes. I know all that. One of my favorite stories from Young Frankenstein is when they sold the script. I forget which studio had said yes. And as they were walking out of the meeting, Mel Brooks turned back and said, oh, by the way, it's gonna be in black and white, and kept going. And they followed him down the hall and said, no, it can't be in black and white. And he said, no, it's not gonna work unless it's in [00:45:00] black and white. And they said, well, we're not gonna do it. And they had a deal, they were ready to go. And he said, no, it's gonna stay black and white. And he called up Alan Ladd Jr. that night, who was a friend of his, and said, they won't do it. And he said, I'll do it. And so it ended up going, I think, to Fox, who was more than happy to, to spend the money on that. And even though Mel didn't like Putting on the Ritz, it's weird, because he has almost always had musical numbers in his films. Virtually every movie he's done, he's either written a song for it, or there's a song in it. So, it's weird to me. I've heard Gene Wilder on YouTube talk about no, no, he didn't want that scene at all, which is so odd because it seems so-- Brian: I never thought about that, but you're right. I'm going in my head through all the Mel Brooks films I can remember. And there is at least a short musical interlude in all of them that I can think of. John: But let's talk then about what's considered one of the best mixes of horror and comedy, Abbott and Costello Meet Frankenstein [00:46:00] [Soundbite: Abbott & Costello Meet Frankenstein] Brian: As with comedies of that age, it, it starts off slow, but then it starts to get very funny as time goes on. And all the comedy is because of Abbot and Costello. They are the, [00:47:00] the chemistry they have on screen. I don't know how much of that was actually scripted and how much of it was just how they rolled with each other. But it works really well. Not much of the comedy is provided by the monsters or the supporting cast or even there's maybe a cute, a few sight gags. But wouldn't you say most of the comedy is just the dynamics between them? John: It is. The scary stuff is scary and it's balanced beautifully at the end where they're being chased through the castle. The monsters stayed pretty focused on being monsters and Abbot and Costello's reactions are what's funny. Dawn: If I may, as someone who has already admitted I haven't seen much of the movie, it's feels to me like it may be something like Shaun of the Dead, in the sense that you get genuinely scared if zombie movies scare, then you'll have that same adrenaline rush and the monsters stay scary. They don't have to get silly. Or be a part of the comedy for your two very opposing one's skinny, one's fat, you know, and the way that their friendship is both aligning and [00:48:00]coinciding is the humor. Brian: I believe there is one brief shot in there where you get to see Dracula, Frankenstein's monster and the Wolfman all in the same shot. And I think that might be the only time that ever happens in the Universal Franchise. During the lab scene, does that sound right John? John: I think you really only have Dracula and the Wolfman. I'll have to look it up because the monster is over on another table-- Brian: Isn't he underneath the blanket? John: Nope, that's Lou Costello, because it's his brain that they want. And so they're fighting over that table. And then just a little, I have nothing but stupid fun facts. There's a point in it, in that scene where the monster gets off the table and picks up someone and throws them through a window. And Glenn Strange, who was playing the monster at that point -- and who is one of my favorite portrayers of the monster, oddly enough -- had broken his ankle, I believe. And so Lon, Chaney, Jr. put the makeup on and did that one stunt for him, cuz he was there. Brian: He did that as Frankenstein's monster? John: Yes. Frankenstein. Brian: I didn't know that. Yes, I [00:49:00] did not know that. So he plays both of those roles in that movie? John: Yes. Let me just take a moment to defend Glenn Strange, who played the monster three times: House of Dracula, House of Frankenstein, and Abbott and Costello Meet Frankenstein. In House of Frankenstein, he is following up the film before that, which was Frankenstein Meets the Wolfman, in which, in this very convoluted universe, Lugosi is playing the monster, even though he didn't wanna do it in 31. Because his brain in Ghost of Frankenstein had been put into the Monster's body. So, in Frankenstein Meets the Wolfman, it is Lugosi as the Frankenstein monster. It is Lon Chaney Jr., who had played the monster in Ghost of Frankenstein, now back to playing Larry Talbot. So, it is Wolfman versus Frankenstein. And the premise of the script was he's got Ygor's brain and it's not connecting properly. He's gone blind. They shot that. They had tons of dialogue between the two characters of Larry Talbot pre-wolfman, and the monster, Bela Lugosi. And the executives thought it sounded silly. So they went in and they cut [00:50:00] out all of Lugosi's dialogue out of the movie. So now you have a blind monster stumbling around with his arms in front of him, but he doesn't talk. And if you look at the movie, you can see where he's supposed to be talking and they cut away quickly. And it's really convoluted. Glenn Strange who then has to play the monster next, looks at that and goes well, all right, I guess I'm still blind. I guess I'm still stumbling around with my arms in front of him. Which is the image most people have of the Frankenstein monster, which was never done by Boris in his three turns as the monster. So with, in that regard, I just think Glenn Strange did a great job of picking up what had come before him and making it work moving forward. Anyway, a couple other ones I wanna just hit on very quickly. Brian asked me to watch Dracula in Istanbul. Under the circumstances, a fairly straightforward retelling of the Dracula story. I would recommend it--it is on YouTube--for a couple of reasons. One, I believe it's the first time that Dracula has actual canine teeth. Brian: Yes. John: Which is important. But the other is there's the scene where he's talking to Harker about, I want [00:51:00] you to write three letters. And I want you to post date the letters. It's so convoluted, because he goes into explaining how the Turkish post office system works in such a way that the letters aren't gonna get there. It's just this long scene of explaining why he needs to write these three letters, and poor Harker's doing his best to keep up with that. That was the only reason I recommend it. Brian: That movie is based on a book called Kazıklı Voyvoda, which means The Warrior Prince and it was written in, I wanna say the 1920s or thirties, I wanna say thirties. It's the first book to equate Dracula and Vlad the Impaler, which I've come back to a couple times now, but that's significant because it was a Turkish book and the Turks got that right away. They immediately saw the name Dracula like, oh, we know who we're talking about. We're talking about that a-hole. It was not until the seventies, both the [00:52:00] fifties and the seventies, that Western critics and scholars started to equate the two. And then later when other scholars said, no, there, there's not really a connection there, but it's a fun story. And it's part of cannon now, so we can all play around with it. John: But that wasn't what Bram Stoker was thinking of? Is that what you're saying? Brian: No. No, he, he wasn't, he wasn't making Dracula into Vlad the Impaler. He got the name from Vlad the Impaler surely, but not the deeds. He wasn't supposed to be Vlad the Impaler brought back to life. John: All right. I'm going to ask you both to do one final thing and then we'll wrap it up for today. Although I could talk to you about monsters all day long, and the fact that I'd forgotten Dawn, that you were back on the Universal lot makes this even more perfect. If listeners are going to watch one Dracula movie and one Frankenstein movie, what do you recommend? Dawn, you go first. Dawn: They're only watching one, then it's gotta be the 1931 Frankenstein, with Boris. Karloff, of course. I think it has captured [00:53:00] the story of Frankenstein that keeps one toe sort of beautifully over the novel and the kind of original source material that I am so in love with, but also keeps the other foot firmly in a great film tradition. It is genuinely spooky and it holds so much of the imagery of any of the subsequent movies that you're only watching one, so that's the one you get. But if you do watch any more, you've got this fantastic foundation for what is this story and who is this creature? John: Got it. And Brian, for Dracula? Brian: I was tossing around in my head here, whether to recommend Nosferatu or the 1931 Dracula. And I think I'm going to have to agree with Dawn and say the 1931 for both of them, because it would help a viewer who was new to the monsters, understand where we got the archetypes we have. Now, why, when you type an emoji into your phone for Vampire, you get someone with a tuxedo in the slick back hair or, I think, is there a Frankenstein emoji? Dawn: There is, and he's green with bolts in his neck. [00:54:00] Brian: Yeah, it would. It will help you understand why we have that image permanently implanted in our heads, even though maybe that's not the source material. We now understand the origins of it. Dawn: And if I may too, there's, there's something about having the lore as founded in these movies is necessary, frankly, to almost understand what happens later. I mean, I get very frustrated in 2022, if there is a movie about vampires that takes any time at all to explain to me what a vampire is, unless you're breaking the rules of the vampire. For example, you know, like in Twilight the vampire sparkles, like a diamond when it's out in the sunshine and is the hottest thing ever. That's really great to know. I didn't know that about vampires. That wasn't necessarily true before, you know, but you don't need to take a lot of time. In fact, when you do read Dracula, one of the things for me that I found very frustrating was the suspense of what is it with this guy? They were like: He said we couldn't bring [00:55:00] garlic and they take all this time. And you're kind of as a modern reader being like, cuz he is a fucking vampire. Move on. Like we know this, we got this one. It's shorthand Brian: That's one snide thing I could say about the book is that there are times where Dracula's powers seem to be whatever his powers need to be to make this next scene creepy and move on to the next chapter. John: He was making it up as he went along. Yeah, yeah, yeah.

It's an undead man's party as Dracula, the Wolf Man, and Frankenstein's monster descend on the Visarian home of Dr. Franz Edelmann! Join “The Invisible Dan” and “Monster Mike” for another monster rally where they talk about the Wolf Man vs. Dracula movie that almost was, why House of Dracula might be better than House of Frankenstein, and bid farewell to Erle C. Kenton, Jack Pierce, Lionel Atwill, and a few others. If you enjoy this episode, and want to support the show, check out our Patreon!

Irish Finance Minister Paschal Donoghue indicates continuing support for the startup sector in Ireland My coverage of Scale Ireland's headline event on September 12th began with some networking in a meeting space allocated by Avolon, one of Scale Ireland's longest supporters. I got chatting with Netsso's CEO and Founder Eoin O'Doherty. He explained how his digital product worked allowing those in the legal field to collate and organise their case files. After an interesting walk-through of Netsso's product by Eoin, we were in turn walked into the main auditorium area for the event. Irish Finance Minister speaks at Scale Ireland Martina Fitzgerald, CEO of Scale Ireland kicked off the main attraction at midday making formal introductions. She noted startups as a key element in continuing government policy around economic development. Minister Paschal Donoghue then took the stage with his keynote speech acknowledging the value and importance of the ‘startup sector'. He noted that now is a great time to be thinking about the development of our (environmental) impact and digital industries through our startup sector, which the government sees as key to our economic future. He then mentioned the new schemes for startups like the 90 million euro fund for new ventures in key areas explaining that the government seeks via the budget to maintain ‘balanced economic supports' for a sustainable future in Ireland. The minister stayed on to participate in the panel discussions chaired by Martina Fitzgerald. First up were the entrepreneurs with Jack Pierce, Co-Founder and CFO of Mayflyer, Orlaith Ryan, Co-Founder and CTO of Shorla Oncology and Matthew Coffey, Co-Founder and CEO, Squid. Wayflyer is valued at 1.6 billion euros and is a fintech success example that has 55% of its investment from the US and the balance from the rest of the world. Jack's main ask is the reduction of the administrative burden around raising money and dealing with Enterprise Ireland. His burdens around administration are understandable given he was a 3 person operation 3 years ago and has gone through a monumental growth spurt as a startup. Orlaith's deep R&D involvement with Shorla Oncology has seen her work very closely with a colleague Sharon Cunningham on the development of 3 pharma products in Ireland. Her startup has operations based in Ireland and the USA. She sees her scaling plans as going through a critical phase over the coming year given the developmental stage of her products. Orlaith after raising 10 million euros would like to see fewer administration burdens around raising cash, which would then allow her to strengthen her focus on the business and its technological development. Matthew's company ‘Squid' has done what we all wish someone would do, take our points cards from our favourite retailers and store them in one central app on our phones. Squid started in coffee shops centralising loyalty schemes. Matthew tells us, that the app will soon support points schemes with no need to carry multiple cards. He also shares the pain points shared around raising cash and would like to see government schemes have less bureaucratic process workflows. The next panel was two key investors, Will Prendergast, Partner with Frontline VC and Faye Walsh Drouillard, Founder and General Partner, WakeUp Capital. Will notes the 20% decline in US capital provision and thinks this loss in investor confidence will trickle into Europe later this year. Will finished with some good advice for entrepreneurs around not taking general advice. Startup entrepreneurs should deeply understand their own circumstances and base their spending decisions on them. He noted options are created around good timing for the individual use case, not the industry average. Faye was very focused on investment in the environment, sustainable food and healthy living. She delivered some practical advice noting the implementation of a startup plan is key to success along with confirmation it has ac...

You fool, you madman, what have you done?! Join Jim & Livio as they chronicle the misadventures of Zombie Ted and Dr. Morris. In this episode, you'll hear all about this lesser known entry in the Universal canon, as well as Evelyn Ankers as a singer (and potential villain), the great Robert Armstrong, George Zucco, Jack Pierce's makeup, Hans Salters music, Ben Pivar's production, and more!

Elijah Herbel is broadcasting this show from the Hail Varsity Club in La Vista, as he's joined by Connor Clark back in the studios. They open the show by discussing Brett McMurphy including Nebraska in his preseason Top 25 before Jacob Padilla joins the show to discuss Husker Volleyball preseason storylines as well as the latest developments in the RB room. Later, they rewind with the late Jack Pierce, and Lars Anderson joins from SEC country for a 2022 SEC preview.An Exclusive Offer For Hail Varsity Radio Show Podcast Listeners!Get your subscription to Hail Varsity at a discount! Use Coupon Code: GBRA Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

We go to Ireland for the best golf trip of our lives.  Want the details on the trip and maybe take the same one? Visit fairwaysandfundays.com/chasingscratch  Want bonus content? Join our Patreon group at chasingscratchgolf.com/velcro  MUSIC CREDITS:  Dangerous by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100414 Artist: http://incompetech.com/ "Air to the Throne" is by Wayne Jones "Forever Yours" is by Wayne Jones "C Major Prelude" is by Bach “Come to the Water” by the Commandeers purchased via PremiumBeat.com  “Set Sail” by RJ Wix purchased via PremiumBeat.com  “Irish Reel Set #1” by Richard Heacock purchased via PremiumBeat.com  “Scandalous” by Jack Pierce purchased via PremiumBeat.com  “Irish Storm” by Roberto Ignis purchased via PremiumBeat.com  “Cliffs of Moher” by Harpo Marks purchased via PremiumBeat.com  “From East to West” by Arthur Basov purchased via PremiumBeat.com  Garth Brooks Karoake from: https://www.youtube.com/watch?v=D5r78pPAGog

The Nebraska recruiting legend has left a mark and will be deeply missed by many.

Chris Schmidt and Elijah Herbel open a new week of Hail Varsity Radio shows by remembering Jack Pierce, a longtime assistant with the Husker football program and a friend to all. They catch up with Jay Moore to get his take on the reports coming out of fall camp before Charlie McBride joins later in the show to give his memories of his friend Jack Pierce. Chris and Elijah also break down what was said at Monday's post-practice media availability.An Exclusive Offer For Hail Varsity Radio Show Podcast Listeners!Get your subscription to Hail Varsity at a discount! Use Coupon Code: GBRA Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Hail Varsity Radio show replays some of our favorite interviews over the past months and years, featuring Ron Brown, Jack Pierce, Tom Osborne, Tom Rathman and more.An Exclusive Offer For Hail Varsity Radio Show Podcast Listeners!Get your subscription to Hail Varsity at a discount! Use Coupon Code: GBRA Hurrdat Media Production. Hurrdat Media is a digital media and commercial video production company based in Omaha, NE. Find more podcasts on the Hurrdat Media Network and learn more about our other services today on HurrdatMedia.com.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Grab those tana leaves because we're heading back to Mapleton, Massachusetts, which is once again under siege by the evil mummy, Kharis! Join “The Invisible Dan” and “Monster Mike” as they discuss the strange continuity across the Mummy films, heroic dogs, the new neighborhood watch, the evolution of Jack Pierce's mummy makeup, and why The Mummy's Ghost might be a good introduction for someone who has never seen a Mummy film! If you enjoy this episode, and want to support the show, check out our Patreon!

Author and Podcaster Jack Pearce joins Sam to discuss his writings, involvement on the internet, and why Internet Drama is stupid and a waste of time. Find links to his content here: https://linktr.ee/falcopunch64 Please Support The Show: Paypal: https://www.paypal.me/whitfieldpod Patreon: https://www.patreon.com/whitfieldreport Subscribe and Support The Audio Podcast: https://anchor.fm/whitfieldreport Streamlabs: https://streamlabs.com/thewhitfieldre... Website: https://thesamwhitfield.com/ Apple Podcasts: https://podcasts.apple.com/us/podcast... Reddit: https://www.reddit.com/r/WhitfieldRep... Dlive: https://dlive.tv/TheWhitfieldReport Odysee: https://odysee.com/@TheWhitfieldReport:b --- Send in a voice message: https://anchor.fm/whitfieldreport/message

Cultuurhistorische podcast met centraal thema. Terug na ziekteverlof: we hebben het over alle tegennatuurlijke natuur! Markers 02:20: Claire heeft het over wolfs- en andere kinderen. 19:15 Marc heeft het over ons verkeerde beeld van de dodo. 24:10 Maaike bespreekt de ontstaansgeschiedenis van de teddybeer. Factchecks # Farao Psamtek. Dat is de juiste schrijfwijze. # 'Het amfibie', is de bijnaam van Ramachandra, een Indiase jongen die in 1982 stierf door kokend water op zich te krijgen (dus niet in de 19de eeuw). # Genie wordt als genie geschreven, niet als Falco's grote hit 'Jeanny'. # Gojira's album geïnspireerd op Kaspar Hauser heet 'L'Enfant Sauvage' en dateert uit 2012. Kaspar Hauser leefde vermoedelijk tussen 1812 en 1833. # 'Motel of the Mysteries' werd geschreven door David Macauley. Het krijgt 4 sterren op Goodreads, maar de dichtstbijzijnde bibliotheek die het heeft is in Oranjestad, Aruba. # Frances Glessner Lee (1978-1962) was de vrouw die gespecialiseerd was in miniatuurreconstructies van misdaadplaatsen. Music by Jack Pierce

https://www.crowdcast.io/e/the-spotlight-on-success-series Save my spot and follow please. What started you on your professional journey? What is your favorite part of being a professional? What are some things you wish you had known when you had started out in your career? Who or what keeps you inspired? What is one important thing that people should know about you? The questions were obtained from Luis Malbas at TLDCast, a frequent Crowdcast platform participant. #crowdcast #spotlight #success --- Send in a voice message: https://anchor.fm/jack-bosma3/message Support this podcast: https://anchor.fm/jack-bosma3/support

https://www.trust2connect.com/ Invite, excite and engage. Thank you. --- Send in a voice message: https://anchor.fm/jack-bosma3/message Support this podcast: https://anchor.fm/jack-bosma3/support

Cultuurhistorische podcast met centraal thema. Nieuw seizoen, nog steeds middelmatig: we hebben het over de zon! Markers 02:10: Claire heeft het over hoe je je kan beschermen tegen de zon: het ontstaan van de zonnecrème. 13:40 Marc heeft het over de zonneboot van Cheops en wat de functie daarvan was… in een woestijn. 24:10 Maaike heeft het over drie merkwaardige voorvallen uit de middeleeuwen met als overkoepelend thema ‘waar de zon niet schijnt'. Factchecks # Claire vergist zich van oppervlaktemaat. Je kan best 2 mg zonnebrandcrème per cm2 smeren, niet per m2. # De ‘Red Vet Pet'-sunscreen van de Amerikaanse navy staat voor ‘red veterinary petrolatum'. # De wagen met paard werd gevonden in Trundholm, een plaats op het grootste Deense eiland Seeland. # De klemtoon ligt anders bij het Engelse dorpje Muchelney (spreek uit als mutsjelnie). # Godfried III met de Bult gaat dood in de Vlaardingse toiletmoord van 1076. Maaike vertelt er meer over in aflevering 27 ‘Moord'. # In 2022 gaat het De Zon Festival door op zondag 5 juni in Amsterdam. Music by Jack Pierce

In this Episode, we catch up with the guests from Season 1 of the Run Shoe Diaries Podcast! They tell us what they have been up to since their (respective) Episode launched, what they have accomplished and what's next on their Athletic Agenda! And since this is a Christmas Episode, we come together for a Christmas Themed "5 to Stay Alive"! Lastly, we have a gift for every Runner and Listener! This episode truly captures the running spirit and camaraderie. Due to scheduling conflicts, we were unable to get an update from Angel Tadytin but she still has our unconditional support! This is definitely a must-listen for all Runners and Christmas Lovers alike!Instagram:@bden10@johnthemachinemedvec@indigenoustrail@hozhorunner4@indigenous_runner@skoookum_chuck@phyllis.stanleyHashtags:#runshoediaries #ultrarunningmom #crazymountain100 #moun10ultra #indigenoustrail #nativewomenrunning #rucknrun #indigenousrunningclub Premium Beat - "Elf Life" by  Jack Pierce  Used with Permission - https://www.premiumbeat.com/account/ordersInvoice No: |  #INV2851876  Order No: |  #3234619  Premium Beat - "Jingle Bells (Rock and Roll)" by  Nicolas Major Used with Permission - https://www.premiumbeat.com/account/ordersInvoice No: |  #INV2829180  Order No: |  #3210420  Premium Beat - "We Wish You A Fun Christmas"  by Jonathan Boyle Used with Permission - https://www.premiumbeat.com/account/ordersInvoice No: |  INV2851837  Order No: |  #3234576  Premium Beat - " Holidays In High Places" by Kensington Studios Used with Permission - https://www.premiumbeat.com/account/ordersInvoice No: |  #INV2852346  Order No: |  #3235122  Premium Beat - " Twinkle Stars by Big Score Audio Used with Permission - https://www.premiumbeat.com/account/ordersInvoice No: |  #INV2852346 Order No: |  #3235122 String Ray Karaoke- "You're A Mean One, Mr. Grinch" Used with Permission - String Ray Music USAConfirmation No: |  1f1cdb16-e875-4ff2-89bf-0ef453ebb1c2  Order No: |  211215337658  String Ray Karaoke- "All I Want For Christmas"Used with Permission - String Ray Music USAConfirmation No: |  1f1cdb16-e875-4ff2-89bf-0ef453ebb1c2  Order No: |  211215337658 

Despite unexpected delays Episode 78 is here. Horror Author and Podcaster Jack Pierce. Jack is the bestselling author of The Suicide Diaries, Under a Mourning Star, Condemned, and Nuke Your Brain. He joins us to explore a hypothetical for the ages. Jack shares a bit about himself and lends us his expertise. So close your eyes and strap in for an interesting listen. Two killing machines meet up at a local bar. They catch up on all the victims interspersed along their travels. Drinks flow and conversation reaches its eventuality. So many more kills remain. As the night reaches its apex Jason and Michael meet at their metaphorical time-in clock, akin to Ralph Wolf and Sam Sheepdog. The stage is set and friendships are cast aside. It's killing time and to borrow a phrase, “There can be only one.” You can find Jack online at: Terror Trax Podcast Amazon author profile

Tom and Bock: December 8th, 12:25pm - Jack PierceAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Welcome to Monsters by the Minute! For this, the first season of the show, we are taking a look at Universal Pictures 1932 classic, The Mummy, directed by Karl Freund and starring Boris Karloff, Zita Johann and David Manners. In this episode, Setna and Nefrekeptah prepare to play a game of checkers with immense consequences. Then, we go behind the camera and behind the scenes one last time and talk about the man who created The Mummy - literally - the man who gave us the signature looks of the Frankenstein monster, the Wolf Man, and our boy Imhotep, Jack Pierce. Then, finally, we take a look a minutes 41 through 48 of the movie, when Ardeth Bey makes moves on a chess board of his own, and begins his seduction of Helen Grosvenor, whom he believes to be the reincarnation of Princess Ank-Sen-Amon. MBTM Season One: "The Mummy" Website Bill Makes Podcasts Facebook Group Become a Patron! Buy The Blu-Ray and Support the Show! Buy The Shirt and Support the Show! Join the Gentle Listener Newsletter! Almost there. Please add below text in one of your recent shownotes, wait some minutes and do the same command to check. CLAIM=1e4ccbed7994264ec64919e70e7b5e3e6b0e49bf=CLAIM

For this episode's show notes, click here (https://conceptspodcast.com/?p=185) or go to https://conceptspodcast.com/ Jack's Podcast can be found here (terrortrax.com/listen).

In this episode of Linguini's Dough we interview Horror author Jack Pierce. We talk about books, and movies from Jack's point of view. Give the full episode a listen if you are interested! Terror Trax: https://anchor.fm/terrortrax/support Podcast Website: https://anchor.fm/linguinis-dough If you would like to be a guest, here is how you can contact me: Phone: (801) 295-0955 Email: LandinVallejos@protonmail.com Instagram: https://www.instagram.com/landini_linguini/ Twitter: https://twitter.com/LandinVallejos YouTube: https://www.youtube.com/channel/UCBCSh0k4zz6i1ygpK4XErjQ/featured Twitch: https://www.twitch.tv/landini_linguini

Guest author Jack Pierce is in a discussion with Alessandra Torre about writing horror stories that hit the mark.Jack will communicate how to write horror effectively and why horror is the most timeless genre of them all.This is an unedited chat loaded with questions and answers.  Listen in!Did you know you can get an expert analysis of your novel in just minutes?Get your book analyzed here > https://authors.ai/

Scream Queens and Horror Fiends I have my very first ever guest on the show, he is a best selling horror author named Jack Pierce.  Jack also runs a horror writing podcast call Terror Trax.  Jack and I had so much fun recording, and after the interview with Jack he was kind enough to stick around as we do a top 10.  The top ten is Horror Novels to Horror Movies.  Great guest, great countdown and a great episode so enjoy.  Link to Jacks Halloween fan filmhttps://rumble.com/vih9et-halloween-the-death-of-michael-myers-fan-film.htmlSupport the show (https://www.buymeacoffee.com/killingtime )

This week we are joined by best selling horror author Jack Pierce. We discuss all things horror, Jack's books and writing, horror in video games and movies,  his podcast and Are You Afraid of the DarkCheck out his podcast Terror Trax Anchor | Apple | Google Podcast | SpotifyCheck out his books  Check out his linktree If you would like to support the WWSD Podcast check out our patreon and get access to exclusive monthly content not released anywhere else, like the Load Boost After Math, The Roast of Seamus, and much more content released every month.  https://www.patreon.com/wwsd_podcastThanks so much for listening! If you like this episode, please subscribe to “WWSD Podcast” and rate and review wherever you get your podcasts.

In this episode (9) of Linguini's Dough, we are featuring Jack Pierce from the, “Jack Pierce Project”, and we talk about the difficulties of marketing a book as well as a little bit of the process of writing a book, you will definitely want to catch this episode. JackPierceProject: jackpierceproject.com/listen Jack Pierce: https://www.amazon.com/Jack-Pierce/e/B07FN9K77G?ref=sr_ntt_srch_lnk_1&qid=1625267699&sr=8-1 Jack Pierce Twitter: https://twitter.com/terror_trax Time Stamps: 00:00 Intro 00:43 Marketing Difficulties ft Jack Pierce 58:57 Quote 01:30:00 24 Hour VR Challenge 01:02:26 Outro The VA who did the last transition is https://www.reddit.com/user/Lendry Go check him out :) Previous Episode: https://open.spotify.com/episode/6V908EKG9TmplBl0MmdJOR?si=42b166bbf8874acb YouTube playlist: https://youtube.com/playlist?list=PLWVH8k8FuRZkHsUvrln5TPnXu8wzA9SXk June: https://www.youtube.com/playlist?list=PLWVH8k8FuRZkHJcb5M1ih-qqD9ELZgpUL Podcast Website: https://anchor.fm/linguinis-dough My Honda: https://www.youtube.com/watch?v=ciO5g-hcMzw&list=PLWVH8k8FuRZm1D77dPwuq1X3sh_J-Rpb0 Instagram: https://www.instagram.com/landini_linguini/ Facebook: https://www.facebook.com/landin.vallejos/ Twitter: https://twitter.com/LandinVallejos YouTube: https://www.youtube.com/channel/UCBCSh0k4zz6i1ygpK4XErjQ/featured Twitch: https://www.twitch.tv/landini_linguini Songs: Slug Love 87 Go On Going Charanagoes Digital Memories Witness - All from YouTube library

Writer, director Joe Demuro's film was an audacious project. He took some of the most iconic figures in classic horror, who also happen to have some of the most fervent fans, reinvented their journeys and did what others have tried and failed to do, he didn't screw it up! In 2015's Tales of Dracula, Dracula, having been bested by VanHelsing, leaves England and returns to his native Carpathian mountains. Since his last bride was destroyed by VanHelsing and his vampire hunters, Dracula sets his sights on a young farmers daughter. After being attacked by the Dark Prince the girls father, with the help of the local inn keepers and a mysterious stranger, take her to a doctor who has taken up residence near town. This is the same doctor that the stranger is seeking in the hopes that he may be able to help him with a terrible malady, and hopefully before the next full moon. Doctor Henry Frankenstein is away on a research excursion, but young and brilliant Victoria Frankenstein is more than happy to help, once she realizes has a source of vampire blood! This blood injected into the monster created by her grandfather could grant the beast eternal life and untold strength! I won't go into any more detail, I think you get the idea. The word "homage" gets used a lot lately. I almost cringe when I hear any film maker use the word. Too often "homage" becomes a bad antonym for "denigrate". I was happily surprised by Tales of Dracula. Everyone involved appears to have a true affection for the classic monsters. There are shades of Hammer Studios, but I think the Universal films of the 30's and 40's are most represented. While there is humor to be found in the film, it was never insulting to the source material nor was it disparaging to the audience and the fans of the genre. No, this was one of the best examples of a film actually honoring the originals that I have seen in some time, if ever. Now, all that being said, and to be honest and fair, Tales of Dracula is not a perfect film. The visual effects are passable, but wisely kept to minimum. Some viewers who are more accustomed to the high end special effects of modern film and TV may find these a little laughable. I felt much the same way with some of the acting,.. passable. There WERE a few stand outs. Tom Delillo, as the cursed wolf man, channels Lon Chaney Jr's passion and angst, and the father-daughter inn keepers, Dwight Kemper & Cassandra Hayes, are so much fun together! Then there is Wayne W. Johnson as Dracula. That is a man who enjoyed himself. He turns that joy, with an ironic twist, and creates an evil, cold and villainous Count. I also enjoyed the snarky young adult turn about on the Dr. Frankenstein by Courtney Bennet. She easily slips between showing her affection for the the creature she grew up with and her ambivalence bordering on contempt for everyone else. There were however several side characters that brought some of the scenes down for me. I understand that a small budget film, (reportedly $20,000), can only throw their casting net so far, but I wish they could have reached out just a little further. A highlight of the film, and I'd be remiss if I didn't mention it, is the make-up! Put together by artist Ron Chamberlain, the make-up effects may be the true star of the film! The potential restraints of the film being in black and white could be a challenge enough, but to this movie watcher, being tasked to recreate and subtlety update the designs of Frankenstein's Monster, the wolf man and Dracula all in one film, seems a daunting task! Somehow, and with great effect, Chamberlain pulled it of with each creature bearing the resemblance of the classic monster. Wolf man takes the prize for most like the original. As much as Delillo channeled Chaney Jr., Chamberlain must have been channeling Jack Pierce. (There is even a splendid lap-dissolve transformation scene!) To the casual horror fan, this film may be a bit dull.