Podcast appearances and mentions of james belushi

Father's Day!  Entertainment from 2022.  Worlds oldest national flag the Dannebrog (Denmark), Arkansas Birthday, General Lee's land conficated by union army for Arlington National Cemetary.  Todays birthdays - Waylon Jennings, Noddy Holder, Russell Hitcock, Steve Walsh, James Belushi, Helen Hunt, Courtney Cox, Ice Cube, Neal Patrick Harris.  Ella Fitzgerald died.  Intro - God did good - Dianna Corcoran   https://www.diannacorcoran.com/Daddy - BeyonceAs it was - Harry StylesWasted on you - Morgan WallenBirthday song - The BeatlesBirthdays - In da club - 50 Cent   https://www.50cent.com/Luckenbach Texas - Waylon JenningsRun runaway - SladeMaking love out of nothing at all - Air SupplyCarry on wayward - KansasToday was a good day - Ice CubeDream a little Dream - Ella FitzgeraldExit - Girl like that - Johnathan Len      https://johnathanlen.com/countryundergroundradio.comcooolmedia.com

This week, Dori takes us through some 80s fad diets — including the definitely-not-a-cult Breatharian Diet.The most iconic movie/music scene combo in 80s cinema history almost sounded very different — and we have James Belushi to blame.Dori discovers a Japanese version of "Holding Out for a Hero", and Paulo finds a time-travelling movie that learned nothing from Back to the Future.Jump To:- 80s Fad Diets (00:01:25) : https://soyummy.com/pop-culture/1980s-diets/- Say Anything & The Boombox Scene (00:10:04):  ⁠https://www.cracked.com/article_46773_john-cusack-originally-blasted-ska-music-in-say-anything-boombox-scene.html⁠- Bonin in the Boneyard: https://www.youtube.com/watch?v=fLoH7Ra2WxI- Tetris Movie Review (00:17:13): https://www.youtube.com/watch?v=loCVDF9Fu4g- Japanese version of “Holding Out for a Hero (00:22:32): https://www.youtube.com/watch?v=D193wSP0YLc- Millennium (1989) Movie Review (00:26:34): https://youtu.be/S0k8xDtHnNM?si=bQ0owvI6hMFVt7MU#1980s fad diets, #fitness trends, #Tetris, #nostalgia, #Hollywood Diet, #Scarsdale Diet, #Drinking Man's Diet, #Israeli Army Diet, #Rice Diet, #Banana and Milk Diet, #Breatharian Diet, #diet absurdity, #movie discussion, #political espionage, #video game history, #soundtrack, #cultural significance, #time travel, #Millenium1989 #KrisKristofferson, #CherylLadd, #That Dori Show.

We present our review of The Substitute/The Principal/187!The genre of "high schools in trouble" movies evolved significantly from the late 1980s into the mid-1990s, beginning with a foundation of inspirational redemption dramas and mutating into gritty action thrillers.It began earnestly with films like Lean on Me (1989), Stand and Deliver (1988), and Dangerous Minds (1995). These movies centered on teachers and administrators fighting to reclaim failing schools, emphasizing personal transformation, student empowerment, and systemic reform. The stakes were social and emotional — saving lives through education, not violence.However, as the '90s progressed — and as American cultural anxiety about crime, urban decay, and "out-of-control youth" intensified — the "high schools in trouble" narrative hardened. Instead of inspirational teachers winning hearts and minds, later films portrayed literal battles for survival against criminal elements within the schools.Movies like The Principal (1987), The Substitute (1996), and One Eight Seven (187) (1997) transformed the setting from a battlefield of ideas to an actual battlefield. Authority figures were no longer educators first — they became enforcers. Characters like James Belushi's Principal Latimer, Tom Berenger's mercenary-turned-substitute Shale, and Samuel L. Jackson's haunted teacher Trevor Garfield had to physically fight gangs, drug dealers, and violent students. Education was almost incidental — survival and order became the goal.Thus, the genre evolved:From teachers trying to save troubled studentsTo teachers trying to survive troubled studentsThis transition also reflects the broader cultural fears of the 1990s: urban schools were increasingly depicted as hopeless, violent zones where idealism wasn't enough — only strength and retaliation would do.By the end of the '90s, this cycle largely burned out. The action-heavy "high schools in trouble" subgenre gave way to other approaches, like the more psychological horror of The Faculty (1998) or the satirical dark comedy of Teaching Mrs. Tingle (1999). The idea of schools as battlegrounds didn't disappear, but the way Hollywood depicted them shifted with the times.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsohttps://www.teepublic.com/user/radulich-in-broadcasting-networkFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76RIBN Album Playlist: https://suno.com/playlist/91d704c9-d1ea-45a0-9ffe-5069497bad59 

For this "ReScreen" episode, Michael does a rewatch of the 2000 romantic comedy dramatic film "Return to Me" starring David Duchovny, Minnie Driver, Carroll O'Connor, Robert Loggia, David Alan Grier, Bonnie Hunt, Joely Richardson and James Belushi. What are some of his memories of seeing this film previously and thoughts after seeing the film again? Check it out and see!Be a part of the conversation!E-mail the show at screennerdspodcast@gmail.comFollow the show on Twitter @screennerdspodLike the show on Facebook (Search for Screen Nerds Podcast and find the page there)Follow the show on Instagram and Threads just search screennerdspodcastCheck out the show on Bluesky just search screennerdspodcastBe sure to check out the podcast on Apple Podcasts, Spotify, Goodpods, Overcast, Amazon Music or your podcast catcher of choice! (and please share rate and review!)Want to be share your thoughts on the podcast? Send me an e-mail!Thanks to Frankie Creel for the artwork

This week on Myopia Movies, it's suddenly Seymour—and Rick Moranis, Steve Martin, Frank Oz, and one giant, man-eating plant. We dove into Little Shop of Horrors, the cult musical that made us fear dentists, question florists, and hum along while the world burns. Somebody feed me... Seymour! Make sure to like and subscribe wherever you are getting this! Please leave us a review and follow us everywhere! How will Little Shop of Horrors (1986) hold up? Host: Nic Panel: Nur, Alex, Keiko, Charlie   Directed by: Frank Oz Starring: Rick Moranis, Ellen Greene, Steve Martin, Vincent Gardenia, Levi Stubbs, James Belushi

This week on Myopia Movies, it's suddenly Seymour—and Rick Moranis, Steve Martin, Frank Oz, and one giant, man-eating plant. We dove into Little Shop of Horrors, the cult musical that made us fear dentists, question florists, and hum along while the world burns. Somebody feed me... Seymour! Make sure to like and subscribe wherever you are getting this! Please leave us a review and follow us everywhere! How will Little Shop of Horrors (1986) hold up? Host: Nic Panel: Nur, Alex, Keiko, Charlie   Directed by: Frank Oz Starring: Rick Moranis, Ellen Greene, Steve Martin, Vincent Gardenia, Levi Stubbs, James Belushi

This is the kickoff episode of our newest series, Kill or Be Killed, an exploration of neo-noir and crime cinema.  Rennie Resmini joins us as cohost and we'll be talking about some of the iconic films in this subgenre.  This week, we cover Thief, Michael Mann's debut feature film from 1981.  Based on “The Home Invaders” the novel by Ronnie Caan, Mann creates a cold landscape of outsiders, criminals and crooked cops brought to life by an incredible cast lead by James Caan and Tuesday Weld including James Belushi, Robertr Prosky, Dennis Farina and Willie Nelson Intro: “Thief Cue 1” – Tangerine Dream Outro: “Thief Cue 2” – Tangerine Dream

Take the younger brother of a famous comedian trying to make his own name and a police dog that doesn't play by the rules, and you get K-9, the 1989 film starring James Belushi and Rando the German Shepherd as Jerry Lee. It's a mystery that James Belushi needs to solve, and only Jerry Lee can help. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Send us a Text Message.Here is to 100 episodes! And for that we give you another double feature Pod! This time we talk about Little shop of horrors from 1960 and the musical remake from 1986! And who better to do a profile this week then Dark Helmet himself, Rick Moranis!https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT

Real Men is a slapstick spy comedy from 1987 starring John Ritter and James Belushi. Definitely more Johnny English than James Bond. --- Send in a voice message: https://podcasters.spotify.com/pod/show/lunchtime-movie-critics/message

In the 1980s a handful of actors ruled the Action Genre. And one of the biggest, if not the biggest of that decade was the star of this movie, Arnold Schwarzenegger. Red Heat is a buddy cop movie with one major twist to the formula. While the unpredictable crazy Big City Cop is pretty standard to the formula, the other buddy in this movie is from Russia. Now that's “Zabavnyy”. James Belushi co-stars, so humor with a hint of "unpredictability" that is totally predictable, is probably guaranteed. Add some over-the-top action, a handful of one-liners galore, and at least a dozen reasons Arnold's character ends up in situations that cause him to become shirtless, and presto, we got an 80s action flick we couldn't be more excited to watch. So let's go, Comrades!Do You Remember Liking This Movie?

Do you like Twin Peaks?  Then you'll be utterly confused by Wild Palms almost as confused as SNL alum James Belushi who apparently didn't understand the script so just showed up on set and read his lines.  Can't blame you, Jim.  This is an indecipherable piece of nonsense.  So the story is that ABC wanted to have another weird show to replace Twin Peaks after they ruined that show with studio meddling.  They came up with this miniseries about a guy who is looking for the lost kid of his ex-lover and also has nightmares about rhinos and Robert Loggia squealing like a pig.  There's also virtual reality where a shitty sitcom can beam to your couch.  It's produced by Oliver Stone (who makes a cameo), it takes place in the future (watch for subtle hints because they do nothing with the fact that it's in the future), and it's a big old mess.  While I doubt we'll watch any other episodes to see how this story pans out, we watched the 90 minute pilot which is available on YouTube and try to make sense of it.  Stay tuned for next week to answer the ultimate question, will Ben get a boner from Mary Gross?  Enjoy!Full archive of all podcast episodes available at saturdaynightjive.blogspot.comEmail us anything at saturdaynightjivepodcast@gmail.comDownload Here

This episode is sponsored by Luxurious Bastard Beard Co | https://luxuriousbastardco.com/ | Use promo code: Legendary Cisco Adler is a Singer/Songwriter/Producer from Malibu, California known for bringing back the “California Sound.”. He is one half of the alternative hip hop group Shwayze. The duo have released two records that have reached Number #1 on the US Itunes charts and their self-titled first album debuted at #10 on the US Billboard Charts and gave us the hit singles Buzzin' and Corona and Lime. Cisco has also co-written and produced songs for Mickey Avalon , Dirt Nasty, Andre Legacy, Cold Flamez, Tabi bonney, The Knux, Lil Jon, G. Love, Roxy Cottontail, Unwritten Law, Big B, and more. He has had songs in The Hangover, Tropic Thunder, Sorority Row, Final Destination, Gossip Girl, The Hills, and is currently music supervising and composing the entire score and soundtrack for a new film called Mothers Little Helper starring James Belushi. He is also an avid cartoonist and painter and overall Bon Vivant. --- Send in a voice message: https://podcasters.spotify.com/pod/show/theanthonyrogersshow/message

Ferrari, directed by Michael Mann, was just released in theaters las week. Johnny Dangerous wanted to go back to the first Michael Mann feature film for his Deep Dive. That movie is none other than Thief (1981), which starred James Caan.Starring - James Caan, Tuesday Weld, Willie Nelson, James Belushi; Directed By - Michael Mann; Written By - Michael Mann; Music - Tangerine Dream; Cinematography - Donald E. Thorin; Editing - Dov Hoenig.Website: https://amoviepodcast.com/Twitter: @ItsaFilmPodcastInstagram: @toomanycaptainsproductions

“Very strange city. The crime is organized; the police is not.”  This week the boys head to 1988 to spend a bit of time with James Belushi and Arnold Schwarzenegger.  A strange little film, let's see what the boys make of this one.  Have you watched this recently?  Feel free to get in touch on the links below.  Follow 80s Adventure on facebook   facebook.com/80sadventure   Follow 80s Adventure on Twitter    twitter.com/80sadventure   Check out the website   80sadventure.com   Email 80s Adventure   podcast@80sadventure.com   Support 80s Adventure on Patreon   patreon.com/80sadventure   Buy the boys a beerko-fi.com/80sadventure

Resident DeGens/Co-Hosts, Andy and Brandon Bombay, discuss one of the truly great genre films of all time, Thief. It's Michael Mann's world baby, we are just living in it.  We have run out of time. We have lost it all. We can't work fast enough to catch up. We can't run fast enough to catch up. And the only thing that catches is up is doing out… PODCAST! Thief is a 1981 American Neo-noir heist action thriller film directed and written by Michael Mann in his feature film debut and starring James Caan in the title role, a professional safecracker trying to escape his life of crime, and Tuesday Weld as his wife. The supporting cast includes James Belushi and Willie Nelson. Follow Us On Instagram: https://www.instagram.com/degencinema Email Us: DeGenCinema@gmail.com

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Si en 1985 Stallone arrasaba con su Rocky IV luchando contra el temible ruso Ivan Drago, en 1988 Schwarzenegger daría su respuesta, encarnando al ruso... Ivan Danko. Eso sí, está vez, el ruso es el bueno, asociado con un policía de Estados Unidos. Y esa extraña pareja, junto a James Belushi y bajo la dirección de Walter Hill, dio como resultado otro clásico del videoclub. Presentan Carlos Cubo e Ismael Rubio. Edición Carlos Cubo. TDV EXTRA es un contenido exclusivo para mecenas de Tiempos de Videoclub y suscriptores de Ivoox Plus/Premium. Hazte mecenas de nuestro proyecto desde sólo un euro y medio al mes y accede a todo nuestro contenido EXTRA en el apartado APOYAR. O bien, puedes suscribirte a Ivoox Plus o Premium para ayudar a nuestro proyecto y al resto de podcast de la plataforma y tener acceso a todo el contenido exclusivo: PLUS: https://www.ivoox.vip/plus?affiliate-code=57fa125d272ab4d38c9574e1079bc6fc PREMIUM (Mensual): https://www.ivoox.vip/premium?affiliate-code=a6053166b900875cde71f936a6e5f3aa PREMIUM (Anual): https://www.ivoox.vip/premium?affiliate-code=ce709ccf404c356f964c2b560f176ecbEscucha este episodio completo y accede a todo el contenido exclusivo de Tiempos de Videoclub. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/1476931

In this episode of the show, we are concluding our September series on Arnie's less like 80s movies, all of which start with the letter 'R' by talking about Red Heat. Over the course of our chat you will hear us talk about Walter Hill's idea to take Arnie into original territories, the anatomy of a buddy cop movie, whether Walter Hill makes stealth comic book movies or westerns, and you will also hear a thing or two about what we think of James Belushi as a comedic presence. Tune in and enjoy! Hosts: Jakub Flasz & Randy Burrows Featuring: Jak-Luke Sharp Intro: Infraction - Cassette Outro: Infraction - Daydream Head over to uncutgemspodcast.com to find all of our archival episodes and more! Follow us on Twitter (@UncutGemsPod), IG (@UncutGemsPod) and Facebook (@UncutGemsPod) Buy us a coffee over at Ko-Fi.com (ko-fi.com/uncutgemspod) Subscribe to our Patreon! (patreon.com/uncutgemspod)

Today's episode dives into the neo-noir world of Michael Mann, in his directorial debut Thief. Released in 1981, it began a very successful career for the director. Starring James Cann, James Belushi, Tuesday Weld, it was Mike's pick and to this day is one of the slickest, coolest films ever with an unforgettable score from Tangerine Dream. Mike's IG: www.instagram.com/miketerrible Will's IG: www.instagram.com/brentwood.buddha Will's Twitter: https://twitter.com/wwgish Visit our YouTube Channel for clips from the show: www.youtube.com/@MovieoftheweekPod Visit our YouTube Channel dedicated to Hong Kong Cinema: www.youtube.com/@hkcinemasociety

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Scott Myers is a screenwriter and educator known for his work in the film industry. He has written numerous screenplays and is the co-writer of the 2006 film "K-9: P.I." starring James Belushi. Myers is also the founder of the website Go Into The Story, which is a popular resource for aspiring screenwriters.Myers has been involved in the film industry for several decades and has worked as a screenwriter, script consultant, and script doctor. He has taught screenwriting at the University of North Carolina School of the Arts and has conducted screenwriting workshops and seminars around the world.In addition to his work as a screenwriter and educator, Myers has written extensively on the craft of screenwriting. His book "The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script" is a widely recognized resource in the field. He also regularly shares insights and advice for screenwriters on his blog, Go Into The Story.Scott Myers is a respected figure in the screenwriting community, known for his contributions to the field and his dedication to helping aspiring screenwriters improve their craft.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2664729/advertisement

Dan walks Elliott and Stuart through some of the 90s output of critically-reviled actor Jim Belushi, trying to answer the question, "what would make a Jim Belushi movie appealing to you?"We've changed how we're running FLOP TV -- now all of the shows will be up until late January, so that even if you buy a season pass late in the season, you'll have access to EVERY episode until then. You can buy tickets here!Donate to the Entertainment Community Fund, to support those affected by the WGA strike.

Scott Myers is a screenwriter and educator known for his work in the film industry. He has written numerous screenplays and is the co-writer of the 2006 film "K-9: P.I." starring James Belushi. Myers is also the founder of the website Go Into The Story, which is a popular resource for aspiring screenwriters.Myers has been involved in the film industry for several decades and has worked as a screenwriter, script consultant, and script doctor.He has taught screenwriting at the University of North Carolina School of the Arts and has conducted screenwriting workshops and seminars around the world.In addition to his work as a screenwriter and educator, Myers has written extensively on the craft of screenwriting. His book "The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script" is a widely recognized resource in the field. He also regularly shares insights and advice for screenwriters on his blog, Go Into The Story.Scott Myers is a respected figure in the screenwriting community, known for his contributions to the field and his dedication to helping aspiring screenwriters improve their craft.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Mr. Destiny is the 1990 fantasy comedy and Chris' pick for this week. Produced, written and directed by James Orr and Jim Cruickshank, this one stars James Belushi, Linda Hamilton, Jon Lovitz, Hart Bochner, and Michael Caine. If you enjoy the show we have a Patreon, become a supporter. ⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠ Plot Summary: Larry Burrows (Jim Belushi) is unhappy and feels powerless over his life. He believes his entire life could have turned out differently had he not missed that shot in a baseball game when he was a kid. One night he meets this mysterious man named Mike (Sir Michael Caine), who could change his fate by offering him that alternative life he always dreamed of. But as Burrows embarks on this journey of self-discovery he realizes that even this new life has its problems and drawbacks. ⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support

"Tonight, his take home pay is $410,000...tax free." In this week's episode, we discuss the crime drama 'Thief' starring James Caan, James Belushi and Tuesday Weld. Written and directed by Michael Mann. Based on the novel "The Home Invaders" by Frank Hohimer.Thief - IMDB: https://www.imdb.com/title/tt0083190/?ref_=nv_sr_srsg_0_tt_8_nm_0_q_thiefThief - Rotten Tomatoes: https://www.rottentomatoes.com/m/1021230-thiefBill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/Jason's Letterboxd Ratings: https://letterboxd.com/jasonmasek/list/jasons-all-80s-movies-podcast-ratings/Website: http://www.all80smoviespodcast.comTwitter: https://twitter.com/podcastAll80sFacebook: https://www.facebook.com/profile.php?id=100030791216864TikTok: https://www.tiktok.com/@all80smoviespodcast

Welcome back suckers! This week we kick off animal sidekick month, albeit a little late, with K-9. “What's that?” you think to yourself, “a dog, cop movie or something?”. Good guess genius, that's exactly what it is, a buddy cop dog flick starring none other than the Belush himself. Not that Belush, the other Belush. Anywho, this thing stars James Belushi, Ed O'Neill, Mel Harris, and Jerry Lee the loveable pup who has a thing for poodle pussy. This thing didn't win any accolades and likely isn't in many top 10 lists or archives but it is a dog movie and that's all we claimed when we did this. So…does it hold up? Listen in as Jon, Colin, and Brent debate peanut butter bribes and the best way to get tail as we do our best to figure out if this flick is a good boi or a K-nein!

EPISODE #370-- We're back on the Criterion grind with Michael Mann's theatrical debut: THIEF. It's a good one. It's a great one. Listen to it. James Cann. James Belushi. Tuesday Weld. What else is there? We also talk about McCABE & MRS. MILLER (1971), NEAR DARK (1987), and THE LAST OF US (2023). Lotta quality up in here. Donate to the cause at Patreon.com/Quality. Follow the show on Twitter @AQualityInterruption, and James on Twitter @kislingtwits and on Instagram @kislingwhatsit. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, please leave us a review on iTunes or whatever podcatcher you listened to us on!

Aujourd'hui on vous parle du film La course au jouet Ou Jingle all the Way en version original, un film Américain de 1996 réalisé par Brian levant avec Arnold Schwarzenegger, Jake Lloyd, Rita Wilson, Sinbad, Phil Hartman et James Belushi.   Lien youtube : https://youtu.be/WLl9V95-6o4 Lien Facebook : https://www.facebook.com/profile.php?id=100034738136802 Lien Twitter : https://twitter.com/LDeconfine/status/1606449644640387074 Lien Instagram : https://www.instagram.com/films_a_emporter/ Remerciements: Calaveyre pour la musique du générique : https://www.youtube.com/channel/UC38irZpj_ipDWRVIhuC1QbA https://www.facebook.com/calaveyre Et à Jipègue pour le logo : https://instagram.com/ji_pegue?utm_medium=copy_link N'hésitez pas à commenter pour donner votre avis. Si vous avez aimé, Likez et abonnez-vous pour ne pas manquer nos prochains épisodes. 

Devin & James are back in the Den with a doozy of a double feature! This time we're driving along the wrong side of the tracks with a couple of hard-nosed, highly-stylized neo-noir crime movies. THIEF (1981) and DRIVE (2011) feel like they share DNA (along with THE DRIVER (1978), which gets more than an honorable mention from us). With plots that seem deceptively simple on the surface, these films feature characters with a ton of rage brewing beneath what's visible up top. James Caan and Ryan Gosling are at their peak here, as are the rest of the brilliant ensemble casts, which features the likes of Robert Prosky, Tuesday Weld, Willie Nelson, James Belushi, Albert Brooks, Carey Mulligan, Bryan Cranston, Ron Perlman, Christina Hendricks, and Oscar Isaac! Under the expert direction of Michael Mann and Nicolas Winding Refn, respectively, these films are must-sees for everybody who loves cinema where the rubber meets the road. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

País Estados Unidos Dirección Woody Allen Guion Woody Allen Fotografía Vittorio Storaro Reparto Kate Winslet, Justin Timberlake, Juno Temple, James Belushi, Jack Gore, Max Casella, Michael Zegarski, Tony Sirico, Debi Mazar, Geneva Carr Sinopsis En la Coney Island de la década de los 50, el joven Mickey Rubin (Timberlake), un apuesto salvavidas del parque de atracciones que quiere ser escritor, cuenta la historia de Humpty (Jim Belushi), operador del carrusel del parque, y de su esposa Ginny (Winslet), una actriz con un carácter sumamente volátil que trabaja como camarera. Ginny y Humpty pasan por una crisis porque además él tiene un problema con el alcohol, y por si fuera poco la vida de todos se complica cuando aparece Carolina (Juno Temple), la hija de Humpty, que está huyendo de un grupo de mafiosos.

On this week's WLM episode, the gang welcomes back friend of the show, New York Times columnist and co-host of the Unclear and Present Danger podcast, Jamelle Bouie to chat about the fantastic crime drama, Thief! Does anyone else put process on screen like this, and is it even half as interesting as when Michael Mann does it? How incredible are Jim Belushi's Hawaiian shirts in this movie? And does this film contain the best shotgun death in all of cinema? PLUS: How many real-life deadbeats can YOU count in the background?Thief stars James Caan, Tuesday Weld, Robert Prosky, James Belushi, Tom Signorelli, Dennis Farina, John Santucci, and Willie Nelson as Okla; directed by Michael Mann.Catch the guys on the road now—next stop Denver! Tickets on sale now! Check out the WHM Merch Store -- featuring new Crispy Critters, MINGO!, WHAT IF Donna? & Mortal Kombat designs! Advertise on We Hate Movies via Gumball.fm  Unlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

Nov. 4-10: Batman meets his hero, Rebecca Romijn is a femme fatale, Christopher Walken hosts a quartet, Greg Kinnear is a sex addict, Ralphie finally gets his on The Sopranos, an erotic thriller with James Belushi, French movies get très weird, and we settle the question: real women…do they have curves? All that and more, this week on Thirty Twenty Ten.

Welcome to the Instant Trivia podcast episode 572, where we ask the best trivia on the Internet. Round 1. Category: The Silver Screen 1: You should know that she played Batgirl in "Batman and Robin" -- unless you're "Clueless". Alicia Silverstone. 2: 1960 film that says "Matricide is probably the most unbearable crime of all", especially for "the son who commits it". Psycho. 3: Rent the 1978 film "Silver Bears" and you'll see this "Tonight Show" host playing a mafioso's son. Jay Leno. 4: Her 6-minute role as Queen Elizabeth in "Shakespeare in Love" was the shortest Oscar-winning role. Judi Dench. 5: Schwarzenegger is a Soviet cop teamed with James Belushi's Chicago cop in this action movie. Red Heat. Round 2. Category: Notorious Women 1: An FBI press release said that she also went by the names Mrs. Roy Thornton and Mrs. Clyde Barrow. Bonnie Parker. 2: In 1954, Lolita Lebron and other nationalists from this island wounded 5 congressmen on the house floor. Puerto Rico. 3: It was ambitious Kathryn Kelly who bought and forced her husband George to use this weapon. machine gun. 4: In 19th c. London, Mrs. Mary Pearcey disposed of victims' bodies by wheeling them off in this vehicle. baby carriage. 5: She served 7 years for the attempted murder of Mary Jo Buttafuoco and then became a columnist for the Long Island Press. Amy Fisher. Round 3. Category: It's A Breeze 1: These steady winds of the tropics are so named because they aid commerce. Trade winds. 2: From the Arabic for "50", the Khamsin can blow for 50 days across the north of this continent. Africa. 3: Kona winds from the southwest can bring bad weather to this state. Hawaii. 4: Also called the snow eater, this strong Rocky Mountain wind shares its name with a type of salmon. Chinook. 5: Dry and cold, the Mistral blows through this river valley in southern France. Rhone. Round 4. Category: Veggies' Scientific Names 1: Allium cepa, and stop that crying right now!. onion. 2: Solanum tuberosum, we dig 'em!. potato. 3: Lactuca sativa, it's also a slang term for paper money. lettuce. 4: Brassica oleracea italica, it was once "banished" from the White House kitchen. broccoli. 5: Raphanus sativa, its giant white variety is known as a daikon in Japan. radish. Round 5. Category: I Know What You Did Last Summer 1: A rocket scientist in training, you interned at this lab, JPL for short. the Jet Propulsion Lab. 2: You worked with this group founded by Millard Fuller to help build homes for low-income families. Habitat for Humanity. 3: You worked as a "blended beverage technician" at this chain that started as The Juice Club in 1990. Jamba Juice. 4: You went to summer school to take this branch of science that deals specifically with compounds of carbon. organic chemistry. 5: You slept til noon every day and read novels like "The Devil Wears Prada" and "Bergdorf" these. Blondes. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

"Schullehrer Latimer schreckt vor handgreiflichen Auseinandersetzungen nicht zurück und wird deswegen strafhalber als Direktor an die berüchtigte Brandel-Highschool versetzt. Hier regiert das Faustrecht, auf den Gängen wird ungeniert mit Drogen gehandelt. Gegen den Widerstand seiner Kollegen und nur mit Unterstützung des schwarzen Hausmeisters will Latimer hart durchgreifen und muss sich mit dem Chef einer kriminellen Schülerbande einen Zweikampf auf Leben und Tod liefern."

This week, we're paying tribute to James Caan, who passed away last month at age 82, with his starring role in Michael Mann's 1981 directorial debut. Co-starring Tuesday Weld, Willie Nelson and Robert Prosky, the film also features the big screen debuts of Dennis Farina, William Petersen and James Belushi. Mann brought in real-life professional thieves to consult on the film, which was co-produced by Jerry Bruckheimer and features a synth-heavy soundtrack by German electronica group Tangerine Dream. Playing a jewel thief and safecracker, James Caan often said that, next to The Godfather, this was the movie of which he was proudest. Now we're tracking down the fifth alarm and stealing a peek at Thief to kick off Aug-Heist 2022!   For more geeky podcasts visit GonnaGeek.com   You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com   You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com

Greg Peerbolte, CEO of the  Joliet Area Historical Museum, joins Lisa Dent to talk about the Blues Brothers Con. Dan Aykroyd and James Belushi will reprise their roles for the 90-minute performance. Greg and Lisa talk about the Blues Mobile, vendors and the movie. For more information, visit jolietmuseum.org Follow Your Favorite Chicago’s Afternoon News Personalities […]

Blues Brothers 2000 from 1998 is a bad film. Join our special guess Dan as we cover this musical... musical comedy... jukebox musical?... sequel and discuss how many car crashes are too much. And was Blues Brothers 2000 a trendsetter in nostalgia film franchises? We also discuss good and bad musicals. Join Gary & Jay as they review the film. In turn please leave us a 5 star review us on your podcast platform of choice. The Nerdfest podcast https://open.spotify.com/show/5HpGQ8uXyeOSorQ9sTuhvo The Alnwick Castle podcast https://open.spotify.com/show/0fGCK0GDhdizkVQJAb8038 The Morecambe and Wise Singin' in the Rain routine https://www.youtube.com/watch?v=iCQP8WGeGuk Listen to the best bit, the Blues Brothers 2000 Soundtrack https://www.youtube.com/playlist?list=PL68VoX7Gmz9YtaiETiTxtmEoE59eUKK9B Blues Brothers 2000 on IMDB https://www.imdb.com/title/tt0118747/ John Goodman and Dan Aykroyd interview https://www.youtube.com/watch?v=OhkDrYxw2Uk Intro to Total Security, the show James Belushi was too busy filming to appear in Blues Brothers 2000 https://www.youtube.com/watch?v=CDWR7pd_ViY Follow We Watch Bad Films on Twitter: https://twitter.com/WeWatchBadFilms Music credit: thanks to Andy Aruldoss Podcast artwork by Jay. Browse and buy Jay's artworks at his Redbubble store: https://www.redbubble.com/people/jayess78/shop Listen to all episodes: https://anchor.fm/wwbf Like this? Buy us a Ko-fi! It helps us buy movie rentals to make more episodes https://ko-fi.com/wwbfpod

This week, the guys from Film Seizure steal away with James Caan, Robert Prosky, James Belushi, and Tuesday Weld in Michael Mann's intense crime drama thriller, Thief! Find new episodes every Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on Twitter: twitter.com/FilmSeizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure

Comedian/actor/musician/farmer James Belushi chats with Garry and shares stories from his long entertainment career, including some of the times they spent together, and talks about his experience as a cannabis farmer and the second season of his Discovery Channel show about it, “Growing Belushi,” debuting on January 19. Garry also welcomes back television producer Harvey Moshman to talk about Season Three of “Wild Travels” which debuts on PBS stations this month.

Today the lads crack the safe of jewels that is 1981's Thief aka the debut feature from director Michael Mann! It stars James Caan with Tuesday Weld, James Belushi, Robert Prosky, Dennis Farina and Willie Nelson plus a 10/10 score from the legendary Tangerine Dream. What can we say, it's a perfect film - come join our gush fest! Questions, comments or a copy of the Thief soundtrack for the lads? therealoutofthepodcast@gmail.com

In the latest WFT Podcast, listen to Board Member, DOP Jaro Waldeck in conversation with fellow Board Member Liz Gill about her work and career to date. Liz Gill is an award-winning screenwriter, director and producer, perhaps best known for her 2003 hit feature, Goldfish Memory. Liz Gill has directed a wealth of shows, from Eastenders to the Hardy Bucks and is currently story producing on the Netflix series Valhalla. About Liz Gill Liz is a producer, feature film and TV drama director and screenwriter best known for her film Goldfish Memory (2003). Her first feature was Gold in the Streets (1996), starring James Belushi, Ian Hart, Jared Harris and Aiden Gillen, produced by Noel Pearson. For TV, Liz has directed RTE's Raw, TV3's Deception, the 6-part comedy series Hardy Bucks and the second units of Camelot (Starz Encore) and The Santa Incident (Hallmark). She has also directed EastEnders for the BBC and RTE's The Clinic, Hide and Seek and The Big Bow Wow, and served as Consultant Director on Love is the Drug,winner of the IFTA for best television drama. As a documentary director, Liz directed A Story With Me In It, for which she was nominated for an IFTA award for best TV director (2012), as well as Consuming Passions (series 1 & 2), Written Off? (Series 1 & 2), Burma – The Generals' Genocide (RTE) and Sport Matters (Setanta). She has also worked extensively as a First Assistant Director in TV and feature films for directors such as Barry Levinson and Todd Haynes, among others, culminating in her writing “Running the Show – the Essential Guide to Being a First Assistant Director,” published by Focal Press (US). Recently, Liz produced the last two seasons of Vikings, the MGM drama series and is currently Story Producer on the MGM/Netflix series Vikings Valhalla. This event has been made possible with the support of the BAI.

Today, we have a buddy joins us at the bar. Al Grego, the host of The Produce Stand Podcast takes a break from peddling fruit to sit down with Bryan and Shane to have a discussion about a satire that is actually kind of frightening when you think about it. In Canadian Bacon, the President of the United States (played by the great Alan Alda) has declining poll numbers. To fix his political career, his advisor wages a propaganda war against the most unlikely of antagonists....This film, written and directed by Michael Moore (yes, that Michael Moore), stars the late great John Candy (in one of his final film roles before his untimely death), Rhea Pearlman, Bill Nunn, Kevin Pollack, and Rip Torn,  followed by cameos from greats such as Dan Aykroyd, James Belushi, Steven Wright, and many many more. So sit back, relax (How are ya, now?) and listen to The Plotaholics, with their special guest, Al, discuss Canadian Bacon.Support the show (https://plotaholics.com)

Привет und herzlich willkommen zum neuen Thekencast. Kuehne, Max Schuk und Stu sind zurück und passend zur russischen Kälte, die sich langsam übers Land erhebt, hat sich unser Promille-Trio den filmischen Freundschaftskuss zwischen West und Ost angesehen: Red Heat mit Arnold Schwarzenegger und James Belushi. Wir wünschen viel Spaß und Perestroika.

Kevin Smokler joins us for the third least Quaidy project QIF has covered to date: Gang Related. It's Tupac Shakur's last film, and he's very good, but it's also three or four different films patched together into a quilt of dropped threads and tone problems -- and it's NOT very good, despite an all-star cast, a couple of hilarious line readings, and a guy we'll call Nott William Winters. And as for Quaid, well, if you ever wondered what it might look like to throw Andy Dufresne's Shawshank testimony in a blender with Jason Priestley trying to cry? Here it is. Paul Blart, Rampart Suspect, the retiring-cop boat trope, Quaid's Fugitive, and why you should probably watch Stakeout instead in an all-new Quaid In Full. Overall score: 4.67 QQQ score: 1.67 Days since a lost Kuffs accident: 0 SHOW NOTES Get EVEN MORE Qontent (...sorry) at our Patreon page (https://www.patreon.com/quaidinfull) Can YOU get past the first 27 seconds of The Dennissance (https://podcasts.apple.com/us/podcast/the-dennissance/id1503394153)? Kevin Smokler's movie is actually good; find out more (https://www.kevinsmokler.com/) Lawrence Van Gelder's review for NYT (https://archive.nytimes.com/www.nytimes.com/library/film/gang-film-review.html) Stephen Hunter's for WaPo (https://www.washingtonpost.com/wp-srv/style/longterm/movies/review97/gangrelatedhunt.htm) Special Guest: Kevin Smokler.

Real Men, released September 25th in 1987, is a comedy that is definitely also a sci-fi. A James Bond-esq CIA agent has to team up with a meek family man to stop rogue agents and the Russians from getting their hands on 'The Big Gun'. We're joined by rapper Clue to unravel the plot of this film that, again, is definitely a sci-fi. Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow Clue! Instagram: https://www.instagram.com/isthatclue/ YouTube: https://www.youtube.com/isthatclue/ Twitch: https://www.twitch.tv/isthatclue/ Facebook: https://www.facebook.com/isthatclue/  Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Twitch: https://www.twitch.tv/kegelandgregmusic  - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ - Twitter: https://twitter.com/ZackoCaveWizard Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

We know the names, Dan Ackroyd, Jim and James Belushi, Gilda Radner, Chris Farley, Bill and Brian Doyle Murray, Mary Gross, Julia Louis-Dreyfus, Tina Fey, Rachel Dratch, Vanessa Beyer, Cecily Strong, Aidi Bryant, Jason Sudekus, Mike Meyers, Tim Kazurinsky and many more. Out of all those, one looms large for not only staying on the NBC comedy bull for 8 seconds, but riding it for 10 years...longer than any other alum from the Second City. If you haven't figured it out, I'm talking about Tim Meadows, our guest today. A cast member for the entire 90's, Tim spanned era's in the show history including two of what many would consider to be “golden eras” for the show. He's one of a select number of SNL alums to have a character turned into a movie with the “The Ladies Man”, a satire on sexuality that I would say is as relevant today as when it came out. Maybe not the radio part. It would be a podcast today. 

This week on Loaned Out, Mike and Brendan discuss Brendan's favorite Michael Mann film, Thief, a 1981 American neo-noir action thriller film written and directed by Michael Mann in his feature film debut. Based on the 1975 novel The Home Invaders: Confessions of a Cat Burglar by Frank Hohimer, the film stars James Caan as the titular thief, a professional safecracker trying to escape his life of crime, and Tuesday Weld as his wife. The supporting cast includes James Belushi, Robert Prosky, Dennis Farina, and Willie Nelson. The original musical score was composed and performed by Tangerine Dream.Featuring criminal tradecraft, career-best performances, and one of the best movie scores of the '80s.Welcome to the Loaned Out Podcast, the continuing story of two friends making it through all the pop culture homework we've given to each other. Hosts Brendan and Mike take turns reviewing each other's pop culture recommendations. Be sure to like and subscribe, don't forget to tell a friend.Email: loanedoutpod@gmail.comTwitter: https://twitter.com/LoanedPodInstagram: https://www.instagram.com/loaned_out_podcast/Learn more at https://loanedout.buzzsprout.com/Find Thief on HBO MAX (as of summer 2021), on Blu-ray/DVD and streaming rental services.

Welcome back to purgatory!!! Mike, Tron and Jeremy talk about Little Shop of Horrors from 1986 from Director Frank Oz! Staring Ellen Greene, Rick Moranis, Vincent Gardenia, Steve Martin, Levi Stubbs, Bill Murray, John Candy, Christopher Guest and James Belushi!!!   Thanks for checking us out!!! Outro song "Extraordinary Machine" By Fiona Apple.

Do you ever wonder what the difference between Supernatural vs Paranormal is? Or Fantasy vs Sci Fi? Well put on your seatbelts because in this episode Kris and I do a deep dive of these types of Genres in Fiction.   |00:38 - 03:25|  Everyday Folklore “Step on a Crack Break your Mother's Back”   |06:30| Supernatural Storytelling   |MUSICAL CREDIT| “Easy Trip Trap” The Brothers Records “Tragic Story”  by Myuu SOUND CREDIT "Ambience, Children Playing, Distant, A.wav" by InspectorJ (www.jshaw.co.uk) of Freesound.org |INFO CREDIT| https://www.masterclass.com/articles/guide-to-supernatural-vs-paranormal-fiction#6-examples-of-supernatural-fiction https://www.quora.com/What-is-the-origin-of-the-Step-on-a-crack-break-your-mothers-back-superstition http://www.smartalecksguide.com/2011/09/are-there-dark-origins-behind-step-on.html |TRANSCRIPT| Hello, my little strange things. On this podcast I discussed the world's folklore, myths, legends and superstition. I explore what these stories meant to the cultures that shared them the different uses of lore and our modern day entertainment, and the history of it all. Welcome to folklore Friday. Every day   Have you ever heard the phrase step on a crack break your mother's back? This was definitely something I heard and said as a child. Even when the other kids and I would question it, that won't really happen. You won't really break your mountains back. Right? It was still something that was fun to say and a fun game to see if you could walk the entire length of the sidewalk without stepping on a crack. This is something in the category of playground lore, meaning lore or superstition that is said and shared among children. There have been multiple versions of the same and it has changed over the years. There's another version that warn children that bears would eat them. Step on a crack and you'll be a bear snack. Another is step on a line and you'll break your mother's fine step on a home, break your mother's sugar bowl, step on a nail and you'll put your dad in jail.   The implication is if a child steps out of line, violence will come to them or one of their parents.   One could say that the idea behind this game is enforcing societal views. That bad behavior of children reflects poorly on the parents, implying that those children act the way they do because their parents did not teach them better.   Even our judiciary system does not try children under the age of 18 as adults, further enforcing that minors are not fully accountable or responsible for their actions until they turn 18. With that in mind, is it possible that this game and phrase said by children is teaching them early on that their bad behavior affects their parents? And ultimately others around them? Or is it just a silly thing? Kids sometimes say to scare each other? or play a game? Tell me what do you think?   Now back to your regularly scheduled program.   Hello, strange Lynx. Just a little housekeeping before I get the episode started. I want to say I'm excited to be back and I've got some fun plans for season two. Hopefully, I'll be able to put out an episode every week. And I really want to get more more listeners involved because I know you're out there I can see the numbers and they're popping up and all sorts of different countries. And so messaged me talk to me, I want to know the things that you want to hear about. I got a text today asking me about Medusa and I was like, hells Yeah, I don't know that much about her except she had snakes for hair. So gonna be researching that. So I want a little bit more engagement. On that note. I hate asking for reviews. I hate it. If you haven't noticed, I don't do it that much. But now, after a year of having the podcast, I can count on one hand the number of reviews I've had. Painful that is to hear myself say out loud. It's horrible. But yeah, I desperately need them and to those who have left me some already I super super appreciate it. And if you're anything like me, you just had your bad leaving reviews. I'll tell you what, I listened to about five different podcasts and I love all of them. I've never reviewed a single one in that messed up but they're actually doing really well and have money and stuff like that. I don't people, okay, so I'm gonna do it with you. Alright. So, so you click on your Apple podcasts. And I'm going to go to a podcast that I like called guide to the unknown. Just a little free publicity for them. All right. Okay. So it opens up this guide to the unknown trailer episodes, you scroll down past episodes, and then it's like boom, ratings and reviews. And then underneath the first review, the latest review that pops up, there'll be a little purple icon that will say right to review. I'm gonna click on that. Hmm, do I want and I can give five stars. Absolutely. title it easy. listening. Okay, these two are so fun. Keep up the good work. And send thanks for your feedback. And now I'm done. Okay, that's super easy. And if you want, you don't even have to write something, you can just go and give however many stars you think I deserve? So again, yeah, the whole reason I do this is so that people can hear it. I put time, effort and money. people that say podcasting is free. Those people are liars, not the good ones. It costs money. The whole reason I do this so that people can hear it, and they can be entertained, and I can hear what they want to learn about. So reviews really helped me out because they bring me up in a search engine so more people can find it. So if you want to leave me a review, that would be fantastic. Thank you so much.   Hello, strange liens. Welcome to season two. I'm your host Megan. And today I'm joined by my husband, Chris. Hello, everyone. I had a good break. But as many breaks often tend to do life happened in the middle. So the time kept getting away from I was like, Oh my gosh, it's almost June. So I'm recording finally. And I am happy to be back recording. Hell yeah. Okay, so today we're going to be talking about supernatural storytelling. I'm not sure if that's going to be the title, either supernatural or paranormal. But why I can't decide it's because we're going to be talking about everything under the umbrella of strange, Supernatural, paranormal, yada, yada, yada and talk about the differences. And honestly supernatural and paranormal I thought they were the same thing. And even though the definitions are different, they're portrayed as the same thing I would say in a lot of entertainment. What about you?   Yeah, I mean, they often get mixed in and they're pretty close. So until you start getting into the actual hard definitions of them then you go Oh, okay. Yeah, I guess I can see the difference there.   Yeah, cuz when I think when when I think supernatural I think all different kinds of monsters and demons and anything spiritual when I think paranormal I only think ghosts. Yeah, good. Like usually where I go with it to like paranormal investigations and stuff like that. Yeah, so that was pretty much what I understood before I did the research. So let's talk about it. Okay. According to the Oxford Dictionary, a manifestation or event attributed to some force beyond scientific understanding, or the laws of nature.   So in the Merriam Webster dictionary, the supernatural definition is, Of or relating to an order of existence beyond the visible, observable universe, especially, Of or relating to God, or a god demigod, spirit, or devil.   And this I found on masterclass.com of what is supernatural fiction, and it says, the supernatural genre incorporates elements that cannot be understood by science, and operate outside the rules of the real world. supernatural fiction normally concerns itself. supernatural fiction normally concerns itself with matters of God, the soul, archangels, and resurrection. Sub genres include supernatural horror fiction, ie the work of HP, Lovecraft, Gothic, ie Frankenstein, ghost stories, supernatural thrillers and other mccobb stories in the horror genre. So you can see how it all kind of mixes together, but this is stating that supernatural is a bit more limited than what I thought. But when you just look at the definition of supernatural, but this is saying supernatural fiction can incorporate a lot of different things. Continuing from the website masterclass, calm   the paranormal genre of literary fiction includes beings and phenomena that are outside the realm of normal Normal scientific understanding of the natural world. Though the paranormal genre may include supernatural list elements, this fiction genre generally includes creatures that have been popularized by folklore fairy tales and popular culture such as fairies, aliens, shapeshifters and the undead   so this so this makes me think it's like flip flops. I think paranormal I think just ghosts. But when I think supernatural I think everything it just stated that it's actually right flip flops. So continuing on. Sub genres that fall into the paranormal fiction category include paranormal romance, urban fantasy, fantasy, romance novels, and paranormal fantasy. The paranormal romance genre has yielded many New York Times bestselling hardcovers and audio books in recent years which storylines around young adult and high school aged main characters who fall in love with the paranormal creature, okay, and some examples would include the Twilight series, Moon called by Patricia Briggs, I've read all of those Oh, there's so freaking good interview with a vampire That one's famous by Anne Rice. And then I'm just reading off once   it's anything that has to do with vampire apparently.   Yeah, discovery of witches vampires, which is the hollow series I don't know what that is. But I've discovered anything titled The the hollow or has the hollow in it is worth checking out because it's usually paranormal on The Mortal Instruments. Okay, so this included examples of fantasy, mortal, mortal engines. That's what I was thinking of going back. Okay, so this kind of locked in fantasy, together with paranormal but here's the difference. There are some debate in the literary world about whether or not high fantasy fiction dark fantasy and other contemporary fantasy genres fall in the supernatural or paranormal category. Though popular fantasy novels and fantasy series like jrr Tolkien's I didn't know it was our Tolkien's The Lord of the Rings and JK Rowling's Harry Potter may include supernatural creatures and elements of the paranormal. fantasy books are generally considered to be their own distinct genre. Okay, and the reason for that is okay, from what I can understand, supernatural and paranormal exist within our world. It's like everything that you know now our world but then add in a vampire, or add in a witch or add in blah, blah, blah. But fantasy exists in a world outside of our world. Right.   So Harry Potter still manages to get outside of our world, because they have their own best secret wizarding world is not really a thing, but it but maybe just had some person who does magic in the normal world. Does that then not make it fantasy?   Yes. So like charmed. would be paired. It would be paranormal, paranormal because they exist in our world. But it's really easy to think of examples like Lord of the Rings, or Oh, come on, what are some other fantasies stuff? I can't think of anything that that new show that we just started watching that you like Shadow and Bone bone. It's like a world that does not exist in our world made up world. Yeah, yeah, exactly. And so that actually helped me kind of distinguish the two of them. Okay, okay. And I don't normally like what Wikipedia says. But I really like the wording. It says in the difference of definitions. The supernatural genre highlights supernatural creatures or happenings within the real world. Moreover, supernatural fiction also tends to focus on suspense and mystery and less on action, and adventure. Fantasy usually takes place in another world. We're fantastical creatures or magic, our normal Labyrinth, the labyrinth legend. Yes. Melissa sent. So awesome. Legend. Yeah, Tom Cruise. I only came out a little while ago. Oh my gosh, like 20 years 3030 or 40, maybe 1985, almost forever. before I was born, so hopefully strange links that answers your questions. But yeah, you can see how it can all get mixed together. But the biggest difference I would say is between fantasy and everything else.   Right. And I would say for the most part, you're zeroing in on paranormal stuff. Correct where we thought maybe it was supernatural that you were focusing in on Moreover, it's paranormal or normal.   And I think the thing that messes Up is one the show supernatural everything right and then shows like paranormal investigations paranormal investigator mostly hunt ghosts so turns out they're wrong.   The other ones as far as you know, movies and TV using them supernatural and paranormal usually feel pretty interchangeable. Yeah, I would say so. I mean, it to say that it's supernatural and it just goes beyond the rules of science can encompass a lot of things still. Yeah, but calling it paranormal seems to maybe focusing on it a little bit more insane. Like No, it's these folklore things in particular. Yeah. That we're seeing. Yeah, that makes a supernatural maybe also is saying that around those same kinds of things a little bit,   because the thing anything outside of science, yeah. Proven.   Yeah. You can't scientifically explain this. And it seems beyond the laws of nature.   Okay. So like, like the show fringe or fringe science? Yeah, possibly. But then when you zero in on it, like monsters, magic, or norm, those are paranormal. Okay, actually, that helped me still   end up in those are science fiction type things would hit a lot of supernatural stuff. But sometimes they like to be like, and then this monster exist?   Oh, yeah. And we didn't even talk about sci fi. Okay, so sci fi, you explain it. I don't actually have a definition. But the difference is things that could maybe possibly exist within science, right? Think of   within the realm of scientific possibility, right, but yet have not been yet discovered or proven? Or, you know, a lot of quantum theory. Any time travel thing is potentially possible, maybe because we've thought about it scientifically, but nothing's been proven behind that. So that's the science fiction thing. Most space traveling type things   are way in the future Star Trek, it all has   this potential to exist because science says that it's possible, but we've definitely not gotten there yet.   Yeah, so that's the big difference. sci fi, obviously science fiction, Supernatural, paranormal, my little magic and   yeah, beyond any kind of scientific explanation, because it just defies the laws of nature. Yeah, yeah. But science fiction is saying, Yeah, possible. But we haven't actually worked it out quite yet.   Yeah. So now, we're going to discuss a little bit about history of supernatural specifically when it pertains to folklore and super superstition. First off, it serves a purpose. It wasn't just this small minded thing that people thought up to scare their children. Most of folklore and superstition comes from a time where they didn't have scientific understanding, and they didn't have medical knowledge. So the way your body decayed, or the moon, or things that happen in NIH, that people didn't understand, because they didn't have that understanding of what was actually going on.   This is what they figured out what's going on. And this was their explanation of it. Exactly. Yeah. They believed it to be true, because this is what they worked out.   And it was it. And that was a good thing, because it gave them an answer where there otherwise wasn't one. The example that I use a lot is the idea of changeling children. It's this concept that a fairy would come and take your kid in the middle of the night and replace it with this human like child's but wasn't because it was created out of magic. And the symptoms that they say that these children had, they wouldn't look you in the eyes. They didn't like being hugged, and they had large appetites. And they didn't like socializing with the other children. So like kind of toddler age. So a lot of modern day psychologists and historians say those kids were probably autistic. And these stories go back. So so far, no, I mean, to get into anti vaccine, but here's a good example of this existed long before it had a diagnosis. And the stories offered these families that were just confused. An explanation were there otherwise wasn't one. Well said. So. So that's an example of how folklore can serve a purpose. And it was probably beneficial to those families because they were like, Oh, it's not my fault. This thing came in the middle of the night and took my baby and now I care for this one. Okay. And then something Chris and I were talking about a while ago is people still have folkloric beliefs and superstition To this day, depending on what country or what culture there's some people that are very heavily involved in superstition,   especially superstitious things. ask anybody that plays a sport. They're superstitious at all or if they do anything to make sure that they have good luck going in this Something like that it that's all superstition, because there's no evidence that it's actually working or not. Even though people might still say that they have evidence behind it, because they won that game, or something like that, but so all superstitions behind it. I mean, even just those general big ones of walking on their ladder, it's bad luck and all those different ways to get bad luck breaking a mirror. These all these things just settle into people's brains. And they, then they're, they've convinced themselves of it. And so just take that and think about being told a story about how sticking a stake in a dead person and nailing him into the coffin was make sure that they don't become a vampire. It's easy to believe. Yeah. It's not worth it. No one's telling you that that's not the right thing.   Okay, so as the world continued on, and we learned, how our bodies worked, how things happen that seemed magical turned out to just be kind of a natural process. folklore became something that faded into the background and then became a part of entertainment. So you can see examples of that in Shakespeare. What are some examples in Shakespeare Besides, okay, I can think of Hamlet, Midsummer Night's Dream. It's a strange perfect POC. Yeah, creature. So in Hamlet, there's the ghost of his father. And then what's the one we're there on the iPad, the tempest Tempest, a bunch of magic in the Tempus. Okay, in 1897. book was written called Camilla, which actually came out before Dracula. And it is about a lesbian vampire. The story is narrated by a young woman preyed upon by a female vampire named Camilla. Then novella, notably, never acknowledges homosexuality and an end to agonistic trait, leaving it subtle, and relatively on mentioned. Now, my opinion is if that was about to human lady love, and ladies, that would not be accepted. And then lady lovingly. Did you like that? So homosexuality was outlawed in different areas during that time. So what made this sneak through to mainstream is because Camilla wasn't a human, she was a vampire. So what I find interesting about this is that they used these kind of folkloric beliefs as a way to talk about something that maybe they otherwise couldn't talk about. So maybe there was some closeted women who were like, Oh, my gosh, I'm not alone. Somebody feels this way. Yeah, and it's a vampire, and it's a vampire. That's what I should be. And thus, the fascination started. So it's interesting to think about how vampires went from this thing of legends that was really scary to this thing that became maybe a little bit more relatable. And there was a level of romanticism and we see the beginnings of that with stories like Mila, and Dracula. And then later, the same thing happen with witches, we saw them starting out as villains, and then they eventually became the protagonists.   So in that, which is went from being villains, to the woman next door, starting with shows like bewitched, which began in 1964, where there was a beloved witch as the main character in it, even though she had to keep her identity hidden as a witch. She's still that the titular character, something similar to that I was thinking of was I Dream of Jeannie. And that started in 1965. So seeming, there's mid 60, things are starting this revolution of these folkloric ideas being these more upbeat, kind of happy things that we can cover and talk about and it's all okay.   Yeah, it was like to be burned at the stake. Yeah. Or like, I'll get you my pretty rich to the east. Now. These ladies existed in suburbia, and so is a much more accepted thing. And it was comfortable for people. And then it went even more so which is begin to be romanticized. And then, you know, vampires had been romanticized since Camilla, and Dracula. And we've seen that become so much more mainstream in the past decade with things like Twilight. But then you can even see examples of you know, Twilight, we've got vampires and werewolves, but now even zombies have their own love stories with movies like warm bodies, and I'm sure there's more but that's the only one I can think of. I can't think of any other zombie zombie story. I mean, izombie kind of Oh zombies cute. will be More people, not just these. Raise your brain. Yeah. Yeah. Thinking sentience, creatures loving intelligent people are ones that also needed to eat people. Yeah. But they figured out or the one way that Drew Barrymore Oh, the Santa Clarita Diet. Yeah. Oh my gosh. I love that show. Oh, heck, how did you forget that one? I don't know. Yeah, check that out. Listeners because that's on Netflix. Yeah, another suburbian example. She's like a wife. She's a like real estate. That's like, bewitched, but that's totally what that is. That's exactly what it is. It's a strong like magic or, you know, supernatural woman, like her human husband. That's okay. With her being this theory. She's trying to support it and manage it. It's actually trying to keep it secret. Yeah, I'm pretty sure it's very feminine thing, because all of those shows are wonderfully feminist in the way that their husbands are accepting with their wives being these things and a good example. Okay, so I want to know is now in the modern world, we know things like zombies and vampires and werewolves we know those things don't exist, because we understand how do we know Yeah. Yeah. But for the most part, they're no longer stories that terrify people. Now, they're stories that are entertaining. So in, Chris, in your opinion, why are these stories entertaining for people, because we still hope they do exist, they exist, still want to grow. And that's why   it's so romanticize being a vampire that then it's not even like, Oh, my gosh, I hope I don't get attacked by a vampire. It's like, gosh, I hope I get turned. So I can be a vampire and vampire things. I mean, that's what Twilight is all about is like, she's, you know, spoiler alert, if you. But I'm Twilight, that Bella eventually turns into a vampire. And then, and now she's a strong werewolf guy. And so it's cool to be this thing. It's neat to be your, you have this power as an outsider. And that's what a lot of people are also looking for, too, is that this, you're this outsider with these special abilities, and you're different from everyone else. But that's pretty cool thing to be.   Because you can still fit in society. Right? You have this this extra thing about you. And I think from the documentaries I've watched on these type of stories, people say that, especially for adolescence, they feel like they don't fit in. And so to see stories like this, where people are existing in a society that looks like ours, but yet there's something unique and inherently different about them. They're like, I can relate to that. I know what that feels like. And so sometimes it's a lot easier for people to relate to. What I think is something that's really interesting about these types of stories is because it's interesting to see characters deal with human emotions. But there's also something that gives them a supernatural power. So everything is supercharged. So if you get jealous, and you have to kill people to live, if you get jealous of somebody, you're like, Oh, I got to not kill that person, I got fight my instinct to not kill them. and different things like that. Or if you have magical abilities, and you get upset, and you like murder five people around you,   yeah, that's like, watch blade. Read the blade comics, because that's why he's awesome. With all those things that you said, you have to watch some blade, because he's dealing with that kind of like, I'm this monster, but I'm a monster killer, I have to battle, this inner monster of mine with these powers that I that I have behind it. And that struggle that he has with himself about who he is. That's big on that. And I mean, that all just then turns into also not just vampires and werewolves in but superhero movies are the same kind of thing. They fall into that same exact kind of storytelling of how do I have? How do I manage these these newfound abilities, these crazy things that are outside of the normal world and still exist and be who I am in the normal world? Where does that balance happen?   Yeah, because the decisions that someone that's just a regular Joe Schmo human have to make are probably a little bit different than someone that has these crazy abilities,   right. Whether they be superpowers or things that potentially make you a monster, like a vampire. Yeah. That's why it's fun to watch it, see where they go with it.   And I like that I think that like vampires and werewolves are interesting, because it's this idea that they are like human, but they're not. So they have to fight their very nature, which is what you were talking about right with with blade. And a really good example that that I like, is the character Damon from the Vampire Diaries, because he's such a good example, because he is just merciless. In the beginning. He's just like killing people left and right. Zero apologies. He doesn't feel obligated to live the human code. Because he's not human. And one of his, one of his lines is, I kill people. It's in my nature. It's who I am. And so it's also interesting to see people not fall into that moral code. Because if you really think about it, they're like, Well, I'm not a human. And so to see, it's also interesting to see bad vampires and bad werewolves.   I could almost see Dexter. Yeah, from the show Dexter saying those? Same, that exact line. Yeah, like, this is who I am. It's in my nature, it's who I am. I think he might have said,   aim it towards bad people.   I mean, that's what makes that it's that it's that gets to be in that same world of what we're doing with the supernatural and paranormal, but it's just a normal guy. Like he's fighting his inner monster. And that's just a great way to tell a story. Yeah, person's inner battle with themselves and are nice, fun, and sometimes easy way to do it. It's be like, well, there,   there's this thing that they're struggling with.   Yeah, they're vampire. They're werewolves, they're whatever this thing is that they have to deal with. And let's see where that goes.   And I think I like that storyline, because you're taking someone that's for the most partly human, and then you're giving them all these different powers. But having those powers of those abilities, doesn't make your problems go away. And that, in my opinion, is why that's interesting, because you still have to deal with all this rain, jealous, wanting to be loved wanting to fit in blabbity, blah, blah, blah, like all of those things are still there. And I think that's really, really good. I don't know, metaphor, or have you another example of why I like these stories. In comparison to say true crime, True Crime can kind of battle with the go over that struggle that you were talking about. With Dexter, it's, you get to see these stories of people that went there, that cracked that completely lost their humanity, and they gave into the darker sides. I don't like stories like that. I get why people like them. But they scare me. terrifying to me, because they're things that really happen. And so when I watch true crime, I'm paranoid for the next week, I look at my neighbors like, that could be a killer, that that guy, that guy checking me out of the grocery store, who knows, and I don't like it. I like these stories, because for the most part, they're not real. Things like that. As far as we know, as far as we know, disclaimer, as far as we know, but I find it soothing. in a weird way. I think I fell in love with the exiles as a kid because I could think, oh, man, I got shit going on in my life. But at least I don't have these problems. At least I don't have some alien or I have to go into some conspiracy of the world even though some people claim that that has happened and then when I feel feel for you, but I'm talking about the non alien stuff. But yeah, I can't I like Chris said, we don't know. I can't disprove spirits, werewolves vampires, but I can sleep through the night if I watched something right as elements.   Because you, you know, you're hoping that your neighbor isn't a vampire. But you're like, could he be a killer? Yeah, exactly. That's exactly.   Okay. And this is a quote from an article that I got that all I'll post the link in the description, we like novelty, something that departs from our everyday experience, some of the attraction of being scared comes from the deviation of having a new experience that we know is safe. Okay, want to split that up into two parts. So first one, it says something that departs from our everyday experience. This is something that Chris and I have talked about, is that Chris loves things that I would say fantasy that's created this whole world and this whole universe   of science fiction will do that too, with you know, jumps into the future of space. Stories, when they're like this is this whole new world, this universe that's been created, you know, Star Wars kind of dances that line of being fantasy and science fiction, because, you know, it's in a galaxy far, far away, and it's creating this whole different new world. But could that exist? You know, scientifically? Yeah. Probably most part. So it's those types of things play in that nice, beautiful place of the new. I like the new instead of what's already here and around me in my everyday life. I don't need other people's versions of their everyday life, I want to see this new, amazing world that has all these new discoveries for me.   Yeah, a good example. Sorry, before we were married, and I was at his apartment, and like, my internet sucked. So he let me come over and use the internet, which is code for watch stuff. He got back from work. And I was watching Parenthood, which is, you know, kind of like a dramedy about being parents and this whole family and how they all work. And there's this scene where this couple who's getting divorced has this, like emotional conversation. And Chris was like, I don't need to watch this. This is depressing. This is real. I don't need to watch it. I don't find this entertaining. And it was just a good example. But some people feel like that's important. And they feel really rejuvenated. My sister's one of those I asked like, what audio books do you listen to? And she's like, I like autobiographies and anything to do with World War Two.   Yeah, I think there's a place for it. I think that it's fine for people who enjoy it. I just not for me.   Yeah. Insane when it when my sister was talking about that. I was like, Uh huh. I only listen to things with vampires and werewolves and witches, like that's the majority, it's autobiographies of comedians. And then like fantasy books, that's how I listened to. Because it's that idea of like, I know what happens in the daily I want something extra. So now we're gonna talk about storylines that are popular in these types of genres,   paranormal supernatural fantasy genres. So one of the first ones that came to mind for us particularly is what we call Freaky Friday. And that's where they just have a Friday and it's freaky. Know what happens there. If you ever seen that movie Freaky Friday is that it's like a swap between two people, you get to live out their life, because some, by some magical or even scientific means their minds get swapped, and you're in their body, and now you have to exist and do the things that they were going to do in their life. And then, you know, discoveries are made, and you get revelations, and you're like, Oh, my stuff was hard. I didn't understand you, and all that deep stuff happens, but it's Freaky Friday for everyone.   And that, you know, obviously, we've seen the movie Freaky Friday, and then there's like other versions of that storyline, but we see it a lot in television writing, especially for shows that are magical. And my favorite type of Freaky Friday is when it's more than just two people. It's a whole night everyone can switch with someone else. Like in Jumanji, the second one. Oh, yeah, that's a really that's, that's, that's my favorite kind of Freaky Friday where they all are getting switched up, and they all are jumping in. And then you get to see those actors act like different characters. Oh, my God, it's perfect. I love it.   And this kind of thing has happened in shows like Star Trek. I know. I've seen a supernatural that's happened in that show for charm term. Both of them even happens a little bit, sometimes in shows that aren't focused around paranormal supernatural things. It's kind of like a almost a dream Dream that they were that person. And then they're like, Oh, crap, I understand them better.   Yeah, but yeah, there's a really good episode in lost girl, where they all get like, switched around. It's Yeah, so there's lots of examples. You can go into that. I like that. Okay. Another type that we've seen, and this isn't maybe not storyline, but a thread for a show is creature of the week. So there's a new threat in every episode. You see it a lot. Or not maybe every episode, but there's usually a new threat, Buffy the Vampire Slayer. It's not just vampires that she fights. There's all these different types of things that happen. And now we have the show legacies on The CW where Nah, they do such a good job things are just come in all the time. It was also on Teen Wolf, the television series you see it a lot in more like episodic type of writing. And I think it's great because it gives you so many different opportunities to tell different types of stories.   So another great one is what I do typically referred to as a groundhog day scenario, because I'm referring to the movie Groundhog Day with Bill Murray, where he continues to repeat the same day over and over again and he gets reset on the day if he dies. And that's usually what happens or ale don't sleep that night in a wake up and it will be the morning that he just did. And so this is just that time loop one that I really like a lot. There's a lot of great movies that do it Groundhog's Day, obviously is is one of the great ones.   And they always refer to it as Groundhog Day. That's that's that's how well that movie did. And it was one of the first ones and so usually when you're trying to explain that story, you say Oh, like Groundhog Day.   Yeah. Yeah, cuz it's so well, and yeah, so fun. And Edge of Tomorrow is one of my most favorite movies. It's also referred to as live die repeat. That's what Tom Cruise Emily Blunt, where he does the same thing he's repeating the same day. If he dies yes to repeat there's there's all these scientific reasons for why it's happening to him, of course in battling aliens, but that same thing of how do I get through my day? What new discoveries Do I need to make an even in just this one day? What are all the many possibilities? that lie ahead for me? It's just a really cool story,   huh? Yeah. What was that one with Andy Samberg, Palm Springs, Palm Springs. That one was super fun. And one of my new favorites is happy death day. There's happy death day one and happy death. Day two. I like the first one. But first one's definitely better. It's been super, super fun. It's like a horror version. And it's horror comedy. My favorite guy. We're gonna watch that on my birthday. I'm excited. Okay, and this is close to Groundhog Day. But another movie that was made made this theme popular for an alternate timeline is it's a wonderful life. So he wakes up. And his whole world is different. What he knew is completely gone. And that is a really fun type of storyline, which they can do in non paranormal type shows. Usually it's some kind of a dream. But it's that idea that here's an alternate version of my life.   Yeah, alternate reality of what, what if this thing had happened and therefore changed so many other things, and usually some sort of crucial moment in your life had gone differently for you. And therefore, these other things have worked out tons of movies have done that? And yeah,   yeah, there's like the family man with Nicolas Cage. I can't believe I can't think of any   baseball one. Mr. Destiny is another one that has James Belushi in it. And he it's it's very much like a It's a Wonderful Life type of storyline where he did not do well in his baseball career. But then going back, I can't remember how it happened. Maybe he made some sort of wish that What if he did do well in his baseball career, and he did that instead? And so he gets to live out that alternate reality. And then, you know, of course, discovers that his life was so much more fulfilling and yeah, there's always that, that that idea idea to it.   But when it comes to time travel, this storyline can be similar to so like Back to the Future. When he does go back to the future. Everything's different. And if he is in charge of everything,   right, that's the second one with a hose. Yeah. Actually, the first one when he goes back is nice. Nice and clean in his car.   Yeah. But then that truck when he gets a hold of the sports Almanac arena, right? Yeah. So differently. Okay. And then this is one that Chris I feel like has a better understanding, but a MindScape where you're entering into someone's mind. So examples like the cell, which I've never seen, and you told me it was here me too much. Yeah,   it's pretty scary. It's that's kind of scary. That gets to you more, I know. Versus like, Oh, this is this is getting in your head a little bit.   Yeah. Watch out.   But explain it like how   so and that one J. Lo is this sort of psychologist and they she's with this group that have discovered a way to sort of go into a person's mind. And in order to help them. Give them therapy is what is happening because they're unable to speak. In particular, there's this boy who doesn't speak he's kind of, I believe he's at such an maybe artistic level that he's not a Want to communicate well or something else is going on? wrong with them? I can't. It's been a while since I've seen it. But then eventually it turns into that this serial killer who goes into a coma, they need to get into his head in order to find out where he's keeping a girl he had just kidnapped and that he put into a chamber and slowly kills a cell. Yeah, that would bother me. And so they're using this process that she's good at. and Vince Vaughn is an FBI guy who's trying to help her out and yeah, just going through that process and the serial killers that guy from the law bill or loan Order Criminal Intent. Not Buffalo Bill, nevermind. kingpin pressure.   Oh, yeah, I don't know his name. Vincent D'Onofrio. Oh, yeah, he was in Jurassic World two. Yeah.   So well. Vincent D'Onofrio is actually the serial killer that they have to get into the mind of And so yeah, that's this MindScape it's this place that he's created. And all these things are possible, because he's making these things up in his head. And so it's like, they're in a serial killers head. And that's what's crazy about it. And that's the the MindScape type thing. I've seen it again on Star Trek, and Star Trek does all of these. And supernatural where it's not, they're not playing and they're going into someone's head. And so they have really, it's this world that's in their head. It's it's what they've created, and they   don't know the rules and everything   right. And usually they're trying to bring them out of it is oftentimes the story that's being told is, is get them out of it or get in there in order to figure out something from them secretly Inception does this yes, these minds Yeah, in or they're trying to plant the seed of a thought. And so they're actually going into this person's brain. And   it's such a fun storyline. I've seen it I've seen on lost girl. I've seen it on Xena, actually, I think it's like Xena goes into Gabrielle's mind. And it's a fun, it's a fun storyline. And it's super similar to Christmas saying like, I think it's the same thing. But there's also the idea of a vision quest where you're going into your own mind. But there's other other things that have joined you spiritual guides. And so they're taking you on this journey. So you're not there for someone else, you're there for yourself. But still, you don't know what's going to happen, you can't navigate because you don't know what's coming. Because it's this the world of your mind that you've created. So there's like, Buffy meets the first Slayer, like death is your gift. She's like, I don't understand. And there's there's also really, really good examples of that kind of storyline, too. Okay, and so now we're gonna talk about the transformation type of storyline. And there's two basically, one is it's a forced transformation example, your bit by werewolf up by vamper, you turn into a werewolf, or a vampire, or a zombie, or whatever. And then all the things that you have to go through to now become this new being. And I mean, so many different examples of that. And then there's the other type, which is a coming of age transformation. You were always this thing. And now that you're a certain age, you're now becoming this thing. Because Didn't you say in team wolf, the movie? It was like a hereditary thing?   Yeah, his dad was a werewolf. And so at once he was going through puberty, he finished his transformation into a werewolf. And so his dad was trying to explain that to him and everything. So it wasn't, he was always going to be that he didn't get bit like he does in the show. He was just born a werewolf like his dad is and a just dealing with what that means for him.   And then of course, you're a wizard, Harry. Right.   And a lot of it. Oftentimes these happen on this coming of age thing, which is not an accident, because it's this, like, I'm going through puberty, what are these crazy changes that are happening to me? And then we're just trying to accentuate that story by saying that, oh, it's because you're a werewolf. It's because you're a wizard. It's because you're a vampire. That now you're at this, you know, this crucible, this point that's happening. And these changes are happening so as to relate to the young adult audience that this is focused around.   Yeah. Another good thing that I've seen when it comes to which stories is that they're spellbound, until they're adults. We've seen that in discovery witches and charmed, they don't find out that they're witches until they're like in the early 20s. Right. And that is a really fun way because it's, oh, your parents wanted you to have this normal life until you were ready.   Right? This new amazing discovery Otherwise, you probably would have had a pretty good grip on it by now. And you'd be managing Oh, true, right.   But now it's like all these different challenges. Um, similar to the body swap, the next storyline is possession. But this instead of being switched with someone, it's just something demon, Angel, bad spirit, good spirit, whatever comes into your body. I don't even want to list all those because you can think of them. There's a lot. Now, this is I, I don't really know how to explain this, but I always find it and it bothers me and supernatural stories. Anytime there's a ritual where you have to have blood involved. So many examples. In Buffy, in supernatural, even in Nancy Drew in charmed. Why? Think about it. Think about those scenes. Where do they cut themselves, Chris on their hand   was on the palm, and they're very useful hands. Why did they do a slice in   the middle of it nice and deep and all the way across. You could cut yourself in so many other places, in order to give a few drops of blood spell your, your Lake, your ankle, anywhere except your needed hands and   you've ever get a cut on your hand. It's like the worst place to get a cut. Because it's always moving us why going that deep? Yeah, it's always super deep. And then what they do, they ball up their fist, and then they squeeze the blood over whatever.   Maybe maybe a needle isn't readily available, but somebody grab a needle and just draw a little bit of blood out. Like this huge cover. When you find that knife, I can   jam it into my head.   It hurts.   It's like every single time. I just have this dream in my head. A storyline right there. Yeah, I know. It's not a storyline, but it's an example I just bring up because it just it's a trope. It's like they always cut their hand. I just have this vision of writing this kind of like paranormal comedy horror movie, and it would be like, Oh, we need a blood exchange. And then someone goes for their hand and another character says, Why don't you just do something smart, like your arm or something and be ready with a bandage. I don't know. I just have a premonition. So like a premonition. Usually I find these like a character that gets premonitions or something that can either be really good or not helpful. Like I don't know That's So Raven is a really good example of how she gets these little premonitions of the future right. But sometimes they change and so she's always trying to change them and don't they always just come true no matter what.   I don't know. I didn't see a whole lot of that. So Raven, it's been so Stan what happened in it? But but that's the people getting premonitions or even just I mean, that's the final destination movies right there. Yeah, yeah. Is them having this premonition of the deaths and then trying to avoid that, and then you trying to escape this fate that's ahead of you.   But like you were saying the characters a character on a new show called The Nevers, which I highly recommend to HBO viewers, right, of how she gets these premonitions, but she doesn't know when they're gonna happen. And she knows that she can't change them. And Chris was saying the other night, he's like, her gift is useless,   utterly useless. Good thing, you know, something that you can't remotely change. Yeah, it was a little that's like, No,   I'm gonna get hit by a car. And then you just go, Oh, well, that sucks. Yeah, that's definitely gonna happen.   And there Yeah. So sometimes I like that type of storyline. When you can change it, like charmed. She can usually change it in both versions, the ones that get that psychic inclination of like, what's going to happen. So I like the premonition storyline when you can change it because then you have an upper hand because if you don't have an upper hand, then you're just like, well, dang it, I can't do it now. Okay. And this is kind of something that we see is when someone becomes aware of the supernatural and they have to now deal with the fact that their world has changed. It's world shattering news, Harry euro wizard. wizards exist What? Like   they don't even have to be part of it either. So much like what I was saying with the the the transformation or the bite that you're becoming your werewolf and you are this thing now. It's that that this is different because we're now saying that this person becomes aware that these insane things exist, and they have to just manage their life. Now with that knowledge. That doesn't mean you take any doctor who Assistant that he brings in there his partner and then going like, well, like a look at this world. And that's why brings assistant along because doctor who's used to all this stuff, we don't necessarily care about Doctor Who discovering these new things, there is some fun in that. But that's why   that show is interesting because the assistant has an   assistant comes along so right about them managing this whole new world of possibilities that he's showing to them of all of these crazy new things. And them how this world shattering idea of what's going on here and then having to manage that.   It's also you can see this a lot when it's, say, a haunted house storyline. And you know, usually there's this struggle of No, it can't be real, I'm gonna prove that it's not real. There's that dumb character. It's like, Steve, no ghost is gonna get me and then they're like drug off off screen. And I do think that the way you write that discovery is going to make or break the movie. We've talked about before, how, let's say like a supernatural threat came to us. And we had to therefore acknowledge that it was like the black eyed kids is something that I've talked about. And you're like, I wouldn't be scared about it. I'd be like, Okay, well, how do we get rid of them? Let's look at let's look at what all the scholars have   just laid out in front of you. And you just you're just like absolutely denying it or just like, Oh, yeah, it's a ghost. I saw it. So you know, okay, let's do a salt circle. Let's do all that. Yeah, let's do the ritual. Do the things that you need to do instead of just yeah, saying no. I know, it's holding me upside down, but can't be real. But   I imagined it. Yeah. And then the last kind of storyline is the idea of a powerful magical object. And that the story is built around that you seen in the movie The mask with Jim Carrey Lucky's mask, he puts it on he transforms into this cartoon like creature. And then Infinity Gauntlet, and the stones are the stones called   the Infinity Stones. The Infinity Gauntlet, it gives that that person a bunch of power, right? These   things that also sort of change your perception on reality because it has this whole nother level of possibilities that are usually supernatural paranormal beyond the explanation of science of the laws of nature. The Holy Grail is another one we talked about the fifth element with the stones and actually, you know, the Fifth Element herself. The Sorcerer's Stone in Harry Potter and Harry Harry Potter just continues to throw those types of things on this list. The fairy wand and elderberry the elder was elderberry elderberries are real. It's like a thing. They aren't good. Yeah. So it's a great way of telling a story is powerful, magical object. Whoever possesses it some sort of crazy thing different than will change for them. I mean, just the genies lamp. Yeah, great example of that.   I think there's something called the skull of truth. And it's supposed to be the skull that like Shakespeare uses. It's Yorick. It's that and whoever's in the same room as the skull, they have to tell the truth. So that would be kind of handy. I do think. So, those are some of our favorite storylines within the genre. Let us know if we missed anything.   There's plenty more. I'm sure we missed some. There's all sorts of different ways. I mean, watch every single Star Trek episode, and they do all sorts of these different things. Yeah. 15 years of supernatural wasn't just by chance that they only cover the storylines that we mentioned. I know. Yeah. So there's other Yeah, they're out there. And they're awesome. And each one gets to be used again and again and again, and thrown little different elements at it. And that's one of the reasons why. supernatural paranormal things are so much fun, because it does not get old.   Yeah, it doesn't get old when you have so many options to play with. Right? And you can mix these things around. You can have like, oh, a Freaky Friday, within Oh, we also have to get this powerful object and this powerful object is what made us do the Freaky Friday thing in the first place. Oh, it's so great.   So many versions. And like we said that, that these they transcend just being in even in their own story, worlds of fantasy, science fiction, Supernatural, paranormal and even the drama series. We'll touch on some of these storylines that are primarily focused in these types of world and then they'll sort of explain them away of why this, you know, the real world is still functioning here that they had a dream, the dream, but it's, they're all incredibly awesome ways to tell stories and that's why I just,   yeah, eat it up. Eat it. Oh, yeah, same. Alright and as we end Make sure to follow me on Instagram at the folklore Friday podcast and message me message me if there's any storylines that you like, or if there's a topic you want us to discuss, because I am looking for feedback. And as I end I wanted to tell Chris and you my listener, so as listening to this podcast, if you'd like my podcast, and you're really gonna like it's called stories with Sapphire, ah, do you ever just look at someone and their accomplishments and you go, I want I want those. She's living my best life. Like, that's this chick for me. And so I was listening to this episode where she tells these scary stories. Sometimes people write in sometimes she narrates, sometimes they they narrate, narrate, I can talk. So I listen to her podcast a lot when I'm working because I do sign work. And I usually find it really soothing but on my way home to you love in my life, Chris. I was listening to this one. And it made me gasp out loud. Because I was like, Oh, I don't like that at all. This, like family, and they kept being haunted by this ghost of someone that looked a lot like the daughter and kept saying, Mommy, Mommy, and it sounded, you know, pretty general. And they said, Please leave and as most ghost stories do the ones that end will that left but then you find out that it was like the ants. Baby, she had a miscarriage. And they said, Oh, the aunt said we couldn't bury it in him. I think it was her her son couldn't bury him in the cemetery. So we buried him in the house. And out loud I went what she said, she put the remnants in this big glass jar with alcohol and put it under the floorboards of the couch, like render underneath the couch. It seems like work to just do that. That's easier to bury airy and live somewhere just disintegrate and become part of the earth.   That sounds very natural to the work to do what they did. It's like preserving it in like a free pickle jar. Yeah,   that's the most disturbing thing I've ever heard. I don't know if it was like a cultural thing. And if it is, I'm sorry, but they didn't say it was and I would be so disturbed if I found found that. Sure. You know what? Just like it was very disturbing to me. So check out that. Yeah, check that out. Check that. It's very good. Also check out guide to the unknown. I've been listening to that one a lot. Super like it props to them. But also listen to all of the other previous episodes for folklore Friday. Oh, yes, please. So thank you so much for listening. Thank you for joining me, Chris. Oh, thank you for having me, Megan. And we'll see you next time on folklore Friday. Bye. Thanks for listening my little strange things. I hope you join us next time. scare you later.   Transcribed by https://otter.ai  

Is the only good cop a dog cop? Possibly, see if this question and more are answered this week as we are joined by friend of the pod Elyse to discuss her favorite subject, dogs, and talk about some movies too. Two dog cop movies to be exact. 1989s Turner and Hooch and K-9. One stars a beloved actor of film and stage(?) and the other stars some guy named James. Turner and Hooch(1989) Directed by Roger Spottiswoode. Starring Beasley, Tom Hanks, Mare Winningham, Craig T. Nelson and Reginald VelJohnson Trailer: https://www.imdb.com/video/vi2317926681?playlistId=tt0098536&ref_=tt_ov_vi K-9(1989) Directed by Rod Daniel. Starring Rando, James Belushi, Mel Harris, Kevin Tighe and Ed O'Neill Trailer: https://www.imdb.com/video/vi2158559513?playlistId=tt0097637&ref_=tt_ov_vi Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

Um eine Ausrede zu haben, über einen Michael-Mann-Film zu podcasten, hat sich Thomas den #MichaelMannMai ausgedacht. Und hat sich als Gast niemand geringeren eingeladen als Max, Godfather of Wiederaufführung, der Mann, der alte Film neu entdeckt und keine Angst vor steilen Thesen hat und vor allem der Michael-Mann-Mann Nummer 1. Ausgesucht hat sich Thomas den ersten Kinofilm THIEF, von dem er noch nie etwas gehört hatte. Die Geschichte eines Profi-Einbrechers, der zuviel Zeit im Gefängnis verloren hat und einem Traum nachjagt … Max und Thomas reden über Profis, Perfektionisten und zerbrechende Träume, über vorbestrafte technische Berater, über Tangerine Dreams treibende elektronische Musik, über die Struktur und den fantastischen Cast: Vom legendären James Caan über die unterschätzte Tuesday Weld, über den jungen William T. Peterson (vor MANHUNTER) und James Belushi in seiner ersten Kinorolle zu Dennis Farina und den beeindruckenden Mafiaboss Robert Prosky und natürlich dem Einbrecher John Santucci der den korrupten Polizisten Urizzi spielt. Eine gute Stunde über Lichter, Reflektionen, Farben und Signature Shots mit Max und Thomas – viel Vergnügen.

Aller Anfang ist schwer? Chris und Minari betreten vollkommen naiv die Podcast-Bühne.

This week we are discussing Red Heat (1988), directed by Walter Hill and starring  Arnold Schwarzenegger and James Belushi.  Do you want us to chat about a movie that you love?email : offradarpod@gmail.comTwitter : @OffRadarPodcastFacebook: facebook.com/offradarpodPlease review, share and subscribe,Site : http://offradar.buzzsprout.comApple : http://bit.ly/offradarSpotify : http://spoti.fi/2YMS3Ec

Olá ouvintes do Kokoro!! Trazemos a vocês mais um AnimeSphere. E hoje, pra terminar o ano de 2020, uma alegria imensa que tivemos! Tivemos a honra de entrevistar o Leonardo Camillo, o Ikki de Fênix!! Não deixe de ouvir. Citações do episódio Fita Cassette Sobre os atores em dublagem começarem a aparecer Trabalhos de Leonardo Camillo Como ator Trabalhou com Mazzaropi. Filmes Dennis Quaid em Dois Espiões e um Bebê - Record, O Álamo (2004), O Poder do Amor, O Vôo da Fênix, Ponto de Vista, Os Cavaleiros do Apocalipse, Legião, Savior - A Última Batalha. Bruce Willis em Meu Vizinho Mafioso (TV/ DVD), Sonhando Alto (DVD), 16 Quadras (TV Paga), Os Mercenários, Red - Aposentados e Perigosos Kevin Costner em Waterworld - O Segredo das Águas, Instinto Secreto, Promessas de um Cara-de-Pau, Dança com Lobos (Band), A Outra Face da Raiva. Nicolas Cage em Códigos de Guerra, O Senhor das Armas, Cidade dos Anjos (VHS), Presságio, Não Chame a Polícia, Kick-Ass: Quebrando Tudo. Ray Liotta em O Crime Perfeito, Herói, Corina - Uma Babá Perfeita (VHS / SBT), Em Nome do Rei, Território Restrito. Richard Gere em Chicago, Justiça Vermelha (Globo), Outono em Nova York (DVD e TV Paga), Palavras de Amor, Sempre ao Seu Lado. Pierce Brosnan em 007 - O Amanhã Nunca Morre, Evelyn - Uma História Verdadeira, O Passageiro do Futuro, Percy Jackson e O Ladrão de Raios. Bill Bixby em A Volta do Incrivel Hulk, O Julgamento do Incrivel Hulk, A Morte do Incrivel Hulk. Jeff Goldblum em Jurassic Park - Parque dos Dinossáuros (VHS), Sedutora e Diabólica, O Trambique do Século. James Belushi em Super Pai, Inferno na Estrada. John Cusack em Conta Comigo, Guerra S.A. - Faturando Alto. Michael Keaton em Jackie Brown, A Um Passo da Glória. Treat Williams em Coisas para se Fazer em Denver quando Você Está Morto, Nas Profundezas do Mar Sem Fim. Dustin Hoffman em Kramer Vs. Kramer (Blu-ray) Bill Paxton em Apollo 13 - Do Desastre ao Triunfo (VHS). Brad Dourif em O Senhor dos Anéis - As Duas Torres, O Senhor dos Anéis - O Retorno do Rei (versão extendida). Christopher McDonald em Awake - A Vida por um Fio. David Bowie em Zoolander (DVD). Fred Williamson em Cavalgada Infernal. Jean-Claude Van Damme em Timecop - O Guardião do Tempo. John Malkovich em O Homem da Máscara de Ferro. Jon Lovitz em Tá Todo Mundo Louco Kevin Kline em Será Que Ele é?. Kiefer Sutherland em Jeito de Cowboy. L.Q. Jones em Estrela de Fogo. Louis Gossett Jr. em O Justiceiro (1989). Michael Emerson em Jogos Mortais. Mickey Rourke em Caçada Sem Trégua. Richard Basehart em Moby Dick (DVD). Robert Patrick em Double Dragon (Redublagem). Robert Powell em Jesus de Nazaré Sean Penn em Os Últimos Passos de um Homem. Tim Robbins em Um Sonho de Liberdade (VHS). Will Patton em A Caçada. Desenhos e Animes Doutor Octopus (2ª voz), Michael Morbius (2ª voz) em Homem-Aranha (Anos 90). Ben Grimm / O Coisa em Quarteto Fantástico (Anos 90). Brightman em Megaman. Frank Archer em Fullmetal Alchemist. Galuda em Power Stone. Jedite em Sailor Moon. Jeff Bogard em Fatal Fury. Kambei Shimada em Samurai 7. Kojiro Hyuga (1ª voz) em Super Campeões. Ikki de Fênix em Os Cavaleiros do Zodíaco. Miro de Escorpião em Cavaleiros Do Zodíaco (Gota Mágica). Pai do Cailliou em Cailliou Piccolo (1ª voz) em Dragon Ball Z. Rei dos Jogos em Ranma 1/2. Ryuma em Super Campeões. Shada em Yu-Gi-Oh. Seriados e Tokusatsus Barney em Barney e Seus Amigos Shohei Hinoshita (Kaminin Oruha - Eps 14 e 45), Bakunin Homem-Míssil (ep 14, 49 e 50), Jonin Makumba (ep 07), Kanin Dragon (ep 11) em Jiraiya - O Incrível Ninja. Tetsuya Ushio (Dan Shimaru/ Lion Man) em Lion Man (2ª voz), Lion Man Branco (1ª voz). Dan Lauria (Jack Arnold) em Anos Incríveis. Jeffrey Nordling (Larry Moss) em 24 Horas. Minoru Sado (Detetive Hayato) em Kamen Rider Black RX.

Olá ouvintes do Kokoro!! Trazemos a vocês mais um AnimeSphere. E hoje, pra terminar o ano de 2020, uma alegria imensa que tivemos! Tivemos a honra de entrevistar o Leonardo Camillo, o Ikki de Fênix!! Não deixe de ouvir. Citações do episódio Fita Cassette Sobre os atores em dublagem começarem a aparecer Trabalhos de Leonardo Camillo Como ator Trabalhou com Mazzaropi. Filmes Dennis Quaid em Dois Espiões e um Bebê - Record, O Álamo (2004), O Poder do Amor, O Vôo da Fênix, Ponto de Vista, Os Cavaleiros do Apocalipse, Legião, Savior - A Última Batalha. Bruce Willis em Meu Vizinho Mafioso (TV/ DVD), Sonhando Alto (DVD), 16 Quadras (TV Paga), Os Mercenários, Red - Aposentados e Perigosos Kevin Costner em Waterworld - O Segredo das Águas, Instinto Secreto, Promessas de um Cara-de-Pau, Dança com Lobos (Band), A Outra Face da Raiva. Nicolas Cage em Códigos de Guerra, O Senhor das Armas, Cidade dos Anjos (VHS), Presságio, Não Chame a Polícia, Kick-Ass: Quebrando Tudo. Ray Liotta em O Crime Perfeito, Herói, Corina - Uma Babá Perfeita (VHS / SBT), Em Nome do Rei, Território Restrito. Richard Gere em Chicago, Justiça Vermelha (Globo), Outono em Nova York (DVD e TV Paga), Palavras de Amor, Sempre ao Seu Lado. Pierce Brosnan em 007 - O Amanhã Nunca Morre, Evelyn - Uma História Verdadeira, O Passageiro do Futuro, Percy Jackson e O Ladrão de Raios. Bill Bixby em A Volta do Incrivel Hulk, O Julgamento do Incrivel Hulk, A Morte do Incrivel Hulk. Jeff Goldblum em Jurassic Park - Parque dos Dinossáuros (VHS), Sedutora e Diabólica, O Trambique do Século. James Belushi em Super Pai, Inferno na Estrada. John Cusack em Conta Comigo, Guerra S.A. - Faturando Alto. Michael Keaton em Jackie Brown, A Um Passo da Glória. Treat Williams em Coisas para se Fazer em Denver quando Você Está Morto, Nas Profundezas do Mar Sem Fim. Dustin Hoffman em Kramer Vs. Kramer (Blu-ray) Bill Paxton em Apollo 13 - Do Desastre ao Triunfo (VHS). Brad Dourif em O Senhor dos Anéis - As Duas Torres, O Senhor dos Anéis - O Retorno do Rei (versão extendida). Christopher McDonald em Awake - A Vida por um Fio. David Bowie em Zoolander (DVD). Fred Williamson em Cavalgada Infernal. Jean-Claude Van Damme em Timecop - O Guardião do Tempo. John Malkovich em O Homem da Máscara de Ferro. Jon Lovitz em Tá Todo Mundo Louco Kevin Kline em Será Que Ele é?. Kiefer Sutherland em Jeito de Cowboy. L.Q. Jones em Estrela de Fogo. Louis Gossett Jr. em O Justiceiro (1989). Michael Emerson em Jogos Mortais. Mickey Rourke em Caçada Sem Trégua. Richard Basehart em Moby Dick (DVD). Robert Patrick em Double Dragon (Redublagem). Robert Powell em Jesus de Nazaré Sean Penn em Os Últimos Passos de um Homem. Tim Robbins em Um Sonho de Liberdade (VHS). Will Patton em A Caçada. Desenhos e Animes Doutor Octopus (2ª voz), Michael Morbius (2ª voz) em Homem-Aranha (Anos 90). Ben Grimm / O Coisa em Quarteto Fantástico (Anos 90). Brightman em Megaman. Frank Archer em Fullmetal Alchemist. Galuda em Power Stone. Jedite em Sailor Moon. Jeff Bogard em Fatal Fury. Kambei Shimada em Samurai 7. Kojiro Hyuga (1ª voz) em Super Campeões. Ikki de Fênix em Os Cavaleiros do Zodíaco. Miro de Escorpião em Cavaleiros Do Zodíaco (Gota Mágica). Pai do Cailliou em Cailliou Piccolo (1ª voz) em Dragon Ball Z. Rei dos Jogos em Ranma 1/2. Ryuma em Super Campeões. Shada em Yu-Gi-Oh. Seriados e Tokusatsus Barney em Barney e Seus Amigos Shohei Hinoshita (Kaminin Oruha - Eps 14 e 45), Bakunin Homem-Míssil (ep 14, 49 e 50), Jonin Makumba (ep 07), Kanin Dragon (ep 11) em Jiraiya - O Incrível Ninja. Tetsuya Ushio (Dan Shimaru/ Lion Man) em Lion Man (2ª voz), Lion Man Branco (1ª voz). Dan Lauria (Jack Arnold) em Anos Incríveis. Jeffrey Nordling (Larry Moss) em 24 Horas. Minoru Sado (Detetive Hayato) em Kamen Rider Black RX.

Diese Folge bietet viel Action, Drama, Thrill, Komödie, Horror, phantastische Regisseure und was das Heimkino und die Streamingdienste noch so hergeben... (00:01:01) Die Kinobranche braucht ein WONDER WOMAN 1984 (00:03:47) Kinoöffnung durch Corona-Entwicklungen unmöglich? (00:06:18) James Belushi und Arnold Schwarzenegger in RED HEAT (1988) (00:17:44) Kontrastprogramm: NO MAN´S LAND (2001) (00:24:13) A BIGGER SPLASH (2015) von Luca Guadagnino (00:29:12) LAKE OF DRACULA (1971): Bloodthirsty Part II (00:36:34) Tauchunterricht mit Wes Anderson: THE LIFE AQUATIC WITH STEVE ZISSOU (2004) (00:41:36) REBECCA (2020): Eine Gegenüberstellung mit Hitchcocks Original von 1940 mit Exkurs zu Filmen von Ben Wheatley (00:55:29) Ein Abgesang auf alte Westernhelden: MY NAME IS NOBODY (1973) Viel Spaß! Filmfressen-Merch: https://www.shirtee.com/de/catalogsearch/result/?q=filmfressen kontakt@filmfressen.de Filmfressen auf Facebook: https://de-de.facebook.com/pages/category/Movie/Filmfressen-904074306371921 Instagram: https://www.instagram.com/filmfressen Letterboxd: https://letterboxd.com/ManuFilmfressen Letterboxd: https://letterboxd.com/PeterFilmfresse

Au sommaire de cette spéciale comédie : -Evocation de quelques classiques parus chez ELEPHANT FILMS, à savoir SHERLOCK JUNIOR, LA CROISIERE DU NAVIGATOR, LES FIANCEES EN FOLIE & LE DERNIER ROUND de et avec Buster Keaton ;-Chroniques de LES VOISINS de John G. Alvidsen avec Dan Akroyd et James Belushi, UNE BARAQUE A TOUT CASSER avec Tom Hanks et le film culte de Carl Reiner avec Steve Martin : LES CADAVRES NE PORTENT PAS DE COSTARD (ELEPHANT FILMS) ;-Retour sur deux films qui flirtent avec le genre de manière étonnante, MAD DOG AND GLORY de John Mc Naughton (ELEPHANT FILMS) et COMME UN OISEAU SUR LA BRANCHE de John Badam (RIMINI). Bonne écoute à toutes et à tous.

"I'm adamant that Tom Hanks, James Belushi, and Bill Murray are the same people." Conspiracy theories and creepy dolls in this week's episode as we uncover some shocking truths about beloved American actors. This week, we discuss stacked 'speak to the manager' bobs that you can go out with, what to do with creepy dolls and how to kickstart a horror franchise with Mabel and Mabel 2: The Daughtening, which conspiracy theories Mumsnetters think hold some weight largely those to do with Princess Diana, 9/11, Jeffrey Epstein, and Boris Johnson's baby (not one big conspiracy theory), and whether you should put a photo of yourself on your CV alongside your "extensive Microsoft Office skills".

On tonight's exciting adventure into Binge-Watching:Midnight Meat Train is a better adaptation than Hellraiser---WHAT?How does the magic work in this movie anyway?Will Smith and Kevin Hart are remaking Planes, Trains, and Automobiles, but they could just make a road trip movie during Thanksgiving.This week we review Clive Barker's magic noir film, Lord of Illusion, we talk our favorite bits whether they resemble Hellraiser or not, did someone say James Belushi was a horror movie fan, we discuss the top Clive Barker adaptations, and what to binge from this prolific fantasy-horror writer, and we talk about watching Money Heist, Red Sun, and revisting Addam's Family.Sponsored by Raycon, and they have a great deal for our listeners, go to buyraycon.com/bingewatchers for offer details.Next week we finish our summer horror movie marathon #summerslash with Scream from 1981.Credit music:Ready FreddyWritten ByDustin RansomPerformed ByCast Of CharactersProduced ByCast Of CharactersSupport the show (https://www.paypal.me/bingewatcherspodcast)

Britt hits his bad film limit, Rupert discovers the wonder of Dirty Dancing and compares Chris Pratt to James Belushi. Films covered: Apocalypse Z Behind the Mask: The Rise of Leslie Vernon The Call Cold Skin The Departed Dirty Dancing The Fanatic Frankenstein The Wolf Hour In Fabric Triple Threat 10 to Midnight K9 Ghost Rider American Psycho 2

Quand le réalisateur de 48 heures, tentent de refaire le coup avec James Belushi et Arnold Schwarzenegger; ça donne Double Détente et ça te laisse l'impression que ça dure 48h.

Red Heat (1988) features Russian Arnold Schwarzenegger teaming up with Chicago cop James Belushi to take down a drug lord. It’s not the most fondly remembered Arnold movie, and there’s reasons for that.

Quand le réalisateur de 48 heures, tente de refaire le coup avec James Belushi et Arnold Schwarzenegger; ça donne Double Détente et ça te laisse l'impression que ça dure 48h. Réseaux sociaux :  Monsieur Séries : @MonsieurSeries Olivier : @seriz_podcast Elodie : @leserigraphe Pour Podcut : @Podcut_label

James Belushi stars as Nick Pirandello, a crude smart-ass that just so happens to be one of the country's top CIA agents, who is ordered to recruit a mild-mannered suburban insurance salesman father, Bob Wilson (John Ritter), a lookalike for a recently iced agent, to join him on a secret mission that may have interplanetary implications that may result in the end of the world as we know it. But Bob is such a sweet-natured man, he needs a crash course in toughening up to the task, which Nick must do in order to achieve the mission's success.  Meanwhile, Bob thinks Nick is off his rocker, particularly when he begins talking like the case involves aliens from outer space. Dennis Feldman writes and directs this zany off-the-wall buddy comedy.

James Belushi, traffic lights, crying men

SON OF BITCH! We review the 1987 James Belushi high school gang movie, The Principal. We ask why does Victor look 56? Is Ms. Orosco selling drugs (Her apartment is way to nice)? Finally, why can't Latimer make a chocolate drink without making a huge mess? 

País Estados Unidos Dirección Woody Allen Guion Woody Allen Fotografía Vittorio Storaro Reparto Kate Winslet, Justin Timberlake, Juno Temple, James Belushi, Jack Gore, Max Casella, Michael Zegarski, Tony Sirico, Marko Caka, Dominic Albano, Evin Cross, Debi Mazar, Brittini Schreiber, Geneva Carr, Steve Schirripa, Matthew Maher Sinopsis En la Coney Island de la década de los 50, el joven Mickey Rubin (Timberlake), un apuesto salvavidas del parque de atracciones que quiere ser escritor, cuenta la historia de Humpty (Jim Belushi), operador del carrusel del parque, y de su esposa Ginny (Winslet), una actriz con un carácter sumamente volátil que trabaja como camarera. Ginny y Humpty pasan por una crisis porque además él tiene un problema con el alcohol, y por si fuera poco la vida de todos se complica cuando aparece Carolina (Juno Temple), la hija de Humpty, que está huyendo de un grupo de mafiosos.

Sollers Point, Baltimore de Matthew Porterfield avec McCaul Lombardi, James Belushi, Zazie Beetz. Pour l'histoire: Après une absence forcée, Keith, 24 ans, retourne habiter chez son père, il retrouve Sollers Point, son quartier de Baltimore de plus en plus marqué par le chômage, la violence et la ségrégation. Il y retrouve aussi ses démons. Il ou Elle (They) est un film de Anahita Ghazvinizadeh avec Rhys Fehrenbacher, Koohyar Hosseini, Nicole Coffineau. J, 14 ans, habite avec ses parents dans la banlieue de Chicago. J, est en plein questionnement sur son identité de genre et prend des traitements hormonaux pour retarder sa puberté. Après deux ans de suivi médical et thérapeutique, il est temps de faire un choix. 

Sollers Point, Baltimore de Matthew Porterfield avec McCaul Lombardi, James Belushi, Zazie Beetz. Pour l'histoire: Après une absence forcée, Keith, 24 ans, retourne habiter chez son père, il retrouve Sollers Point, son quartier de Baltimore de plus en plus marqué par le chômage, la violence et la ségrégation. Il y retrouve aussi ses démons. Il ou Elle (They) est un film de Anahita Ghazvinizadeh avec Rhys Fehrenbacher, Koohyar Hosseini, Nicole Coffineau. J, 14 ans, habite avec ses parents dans la banlieue de Chicago. J, est en plein questionnement sur son identité de genre et prend des traitements hormonaux pour retarder sa puberté. Après deux ans de suivi médical et thérapeutique, il est temps de faire un choix.

On this week's episode, the gang discusses the dirty-ass, Jim Belushi erotic thriller, Traces of Red! Who in their ever-loving mind thought it was a good idea to cast Jim Belushi as this sexy Lothario detective—besides Jim himself, of course? Why couldn't Tony Goldwyn share top billing? And what's with Lorraine Bracco's cough/laugh? PLUS: Domino's Pizza Insurance—the laziest and saddest thing a business could invent. Traces of Red stars James Belushi, Lorraine Bracco, Tony Goldwyn, William Russ, Faye Grant, and Morgan Cassidy; directed by Andy Wolk. This episode is brought to you in part by Audible: Visit audible.com/whm or text 'WHM' to 500-500 now to receive a free audiobook download with your 30-day trial membership!