Podcast appearances and mentions of James Russo

We bring you the 14th episode of our specialty show "Take Out Edition" where we will explore the realms of foreign cinema.  Our hosts will take you along their travels all over the globe while diving into some of the most lucid storytelling, savage cannibals, vengeful spirits, sadistic killers, and post-apocalyptic zombie-plagued landscapes. Join us as we dissect the classics that prove sometimes fear comes with subtitles.  Our hosts, author and filmmaker Cameron Scott and filmmaker/musician Thomas Berdinski, take you on yet another Italian voyage on this episode with the 1993 Dario Argento directed "TRAUMA". Trauma stars Asia Argento, Christopher Rydell, Piper Laurie, Brad Dourif, James Russo and Frederic Forrest. It's not quite a slasher and not quite a Giallo, and all of a murder whodunnit shrouded in mystery that is "a new dimension of fear."  Cinema Degeneration welcomes you to enjoy some Take Out while we explore the misadventures of Aura's search for the murderer who killed her parents and the price she'll have to pay for the answers! Join Us!   "Some other soul is here with us tonight!"

```htmlHey everybody, welcome to Hit Rewind. This is Michael, and Jacob's on the other side. We are discussing the films of 1997. We're finally here! Yes! Look, I know- Action, baby! We had a game plan, and I got bored. I'm sorry, I'm a little erratic. We were going to go through the 60s and 70s and pick up stuff we missed in the 80s and 90s, and I said, I can't take any more westerns and war movies! Movies and other than that it seems like it's gonna be really hard to finish off the 60s and then hopefully we can burn through the 70s but for now i think for the rest of this year until you go on hiatus again we're just gonna do 97 probably 98 i seriously doubt we'll get through 99 but let's get started everybody what's the first movie of 1997 you want to discuss, well this one i wanted to get out of the way i hadn't seen this before and i didn't even know it was sort of like a follow-up to fish called wanda fierce creatures you know what's funny is you usually miss it you're like i'm gonna get this out of the way because this thing's a piece of fucking shit no i mean you have to start someone with these lists yeah to any of them well a lot of people do a lot of people do think this is a piece of shit it was a huge flop, critics hated it it got dumped like the second week of january no one gave a flying fart about it i don't think it's that bad is it is it because fish called one is probably considered at least bare minimum on every list a top 25 comedy of all time. Do you think those expectations are what ruined Fierce Creatures? Definitely have an impact. That would be a contributing factor. Yeah. You can't rule it out. The director did switch halfway through the movie and there was some reshoots to fix the entire ending. The last 20 minutes or so were completely reshot. So when his father shows up at the zoo, he died in a completely different way so before he gets shot in the head that whole thing was re-shot so that cost a lot of money and delayed release and stuff like that so that was a little bit. A little bit part of it's like flow is a little off. I think the only thing that really hurts this movie to me is I think some of the jokes don't work and they're not, they're not as macabre as they should be. It's so dark and weird in fish called one. I feel like they're pulling their punches a little bit in this one. Yeah. Oh, but for that, Oh God, that scene at the end, she did not expect that. Yeah. I mean, yeah, you get your supporting cast, like you got like Michael Palin coming back as well. Along with Jamie Lee Curtis, Kevin Kline playing two roles, you know, basically the owner of the company trying to buy the zoo and then his son, you know, trying to show that he can run things. Yeah, you know what's funny is in the original cut, he shows up as his mother. So he played three characters. Oh, no, Kevin Kline could pull that off. It's funny, I mean, especially after Wild Wild West. Yeah. It's so funny is after he won the Oscar, It seemed like he struggled in mainstream films that he had to go do smaller, more independent-minded movies. Life is a House and, oh, there's a teacher one that he did that was really good. But it's like whenever he does a big studio film, it seems like it's a struggle. Oh, In-N-Out, right? Is that what you're talking about? Well, yeah, In-N-Out's the one that won him the, I don't think he won, but he might have got the nomination. But it just seemed like he would jump from major movie and then just, like, it wouldn't do very well. then he would go do some independent smaller stuff and then that would, you know, rock the house. Because if you remember, the first entry in this, the whole Fish Called Wanda, was an independent movie that was picked up by MGM. Oh, wow. Oh, this was produced by Danny DeVito. See, that makes me even more depressed because it should have been more demented. Oh, absolutely. I mean, come on. I mean, after, what, War of the Roses, and The Law from the Train, and then later on Death of Smoochie, yeah, no, you'd think it would be a little bit more crazy. Yeah, I'm looking... Go ahead. but yeah that scene though like near the end to like you know open keep things up going yeah that did throw me for a loop I was like holy shit I did not expect that to happen of course Michael Palin's character you know being one of the loop keepers. You know, keep his area funded, you know, always talking about like deadliest animals. They have to be. And then, bam, the little piece shooter. Like, oh, my God. Well, that's if you haven't seen this movie, what it is, is this is a takedown of Fox News. This is a Kevin Kline is playing Rupert Murdoch. He flat out is. And his whole thing is consume. And it's still going today. Consume whatever you can to make your corporation even bigger. But in order to turn a profit from what you just spent buying a thing, you have to do massive cuts. So they're they're they're firing people. They're adding tons and tons of stupid advertising, but they're also getting ready some of the animals. And Rallo, who's played by John Cleese, is in charge. He's ex-military and they think that he can be really hardcore, you know, cutting this place down to the bone to make a profit. Because it's not just a profit, though. Wasn't it 20 percent is what they had to have? Yes that's insane like especially in the beginning of owning something you kind of have to eat the the profits for a while until you get things up and running and exactly you gotta spend some money to make yeah but you saw this with rupert murdoch and stuff like that and other guys like ted turner who bought shit up and didn't really fucking care as long as it built his empire and made money so and what they just happened with disney disney buying up ironically fox but also Also, like shutting down Blue Sky, you know, trimming the fat on any independent movies, small stuff. They basically destroyed Fox Searchlight. It barely exists now. So this is nothing new. So 25, almost 30 years ago, this movie really had their finger on the pulse. Pretty much. Oh, gosh. It does make a whole lot of sense. Just like how they had to have like some of the zoo staff dressed up as animals. All these stupid little, you know, advertisement boards and posters. The fake panda. Oh god yes animatronics and all that you know i know that gorilla suit is fake but god that was convincing that was really really good make yes god i mean honestly as much as i enjoy congo yeah that looked a lot more accurate than congo yeah but yeah so he has to find ways of keeping the animals alive keeping the place open but there's this whole subplot of somehow rollo keeps getting in these like situations that make him look like the biggest swinger in all of england like the most fuckable man in the whole place and everybody's just kind of confused by it i mean jimmy curtis seems to be confused by him and also amused and turned on exactly that's why she's kind of seducing him in the end yeah and all the while like kevin klein the son when he's playing the son he's trying to get with earth they have something like no this is purely a partnership you know this is a workplace professional relationship but i think nothing intimate it works out for him because he is a fucking what do you call that sex pest yeah he's a sex pest his whole thing but they finally find a piece for his character in that you know you've, To be fair, it took him accidentally killing his father. But, you know, like, give him the zoo. Just let us run this. Or no, get him to run the corporation, whatever. Now, the whole thing about faking the death is one of the most ridiculously comical things I've ever. The whole, oh, I'm in my dark phases. I gotta go be by myself in the barn. Oh, yeah. Then the whole shtick, trying to find everything, put everything in the right place. Make sure there's no suspicion that it was actually a suicide. Yeah. Like, the space in the gun and everything. And then having to carry on and provide those lines. Yeah, I think it's a really fun movie. But, yeah, it tanked so hard. Originally meant to be $18 million. The reshoots cost another $7 million. And it only made about $8 million in America. Thankfully, it made some decent money overseas. But in comparison, this only made $40 million. Dollars fish kawada beat 198 million and it only cost half of this oh yeah that's a huge drop, all right so what is our next film this one okay this is a bit of a turn this is we're going a little we're going dramatic with this one and this is what you know mainstream audiences take johnny depp far more seriously yeah donnie brosco i'm trying to think was he he was in that nick of time movie a couple years before this that you and i both enjoyed but guess what nobody saw it was a huge flop yeah before this it's either his movies were very very small independent movies like dead man or it was him just being quirky and cute you know like benny what did bonnie and june benny and june benny and june right stuff like that you know where he played quirky eccentric this is the first one besides nick of time that people are like oh he can play a normal dude which he rarely did. And I still think Pirates of the Caribbean is the worst fucking thing that could have happened to him. I mean, at the time it seemed great, but who knew that all that money, all that excess, all those demands for him to play weirdo characters for the rest of his goddamn life until just recently would just undo him. Absolutely. That and, of course, his on-set behavior. Yeah. I'm not really going to get into it, but I just think both of them are kind of fucked up. I don't know. I'm not choosing a side. It's just sometimes you look at the parties and go, yeah, you guys should have never been together in the first place. This is just... Yeah. No, fuck both of you. Yeah. So, yeah, Donnie Brasco is actually the only dramatic one in this bunch because it's weird how I make my list. And this just happens sometimes where we get predominant copies. I think the next one is predominantly thrillers. But yeah, this one is based on a true story. Undercover officer in the 1970s who had to infiltrate the mob. And it's really interesting is having Robert De Niro or Al Pacino play mobster gangster kind of guys was nothing new at this point. Both of them had done at least three or four movies in this vein by this point. But what's interesting is Al Pacino had the guts to accept a role where he was a fucking loser. Pretty much. Yeah, I know. know he was just a wise guy street hustler you know yeah just real low level bottom never gonna be running his own crew this is the closest he's gonna get to success and he gets there with the help of donnie brasco and just just the fucking tension throughout this movie it's not like like suspense movie dread you know like where you think it's gonna be big jumps there's just this This never-ending, oh God, at some point they're going to figure it out. What is going to happen? Is Al Pacino going to sell him down the river? Is Johnny Depp going to have to kill Al Pacino? You just don't know. Exactly. And then there's supporting characters. You've got other wise guys. Michael Madsen did a great job. And in one particular scene, yeah, he kind of screws over Al Pacino. Yeah, there was a point where Michael Madsen, he was never like a big star. But he was always getting quality work and supporting parts. And then he would go off and do like little independent stuff, sometimes trash, sometimes not. And now you look the last 20 years of his career since Kill Bill has been fucking embarrassing. Because he, like Eric Roberts, have this thing where they will literally accept any role for a certain amount of pay a day. And I shit you not, I looked it up. He gets $8,000 a day. He'll do any giant piece of fucking garbage they'll shoot everything in a day or two slap his name at the top of the the post or whatever and that's it he did have a part in sin city yeah so long ago man yeah and then of course there was the the hateful eight, Yeah, if Tarantino or Rodriguez are not involved, it's going to be garbage. I don't know what it is, if he's difficult to work with or he's lazy and tired. I don't know. But it's always a shame when you see actors just do this. I know. It sucks, especially when they had such prominent careers. Yeah. And then there's James Russo, who's another one of those that guy kind of. He's like Michael Madsen's right hand man. It's one of those works filled with guys who just did lots of gangster monster movies. This kind of seems almost like not a goodbye to the whole thing because I feel like Casino was kind of saying goodbye for a while. But this is because it's based on a true story. There's something just slightly different than trying to be a Goodfellas clone. Almost somewhat, yeah. Whoa, Donnie Brasco was a massive hit. I had no fucking clue. It made $125 million worldwide. That's wild to me. Yeah, absolutely. So, yeah, this is what definitely catapulted Johnny Depp to success. And he needed it because it'd been a while since he had a hit, I think. Yeah, I mean, especially if, like, Tim Burton's name wasn't attached to it. Yeah, because Don Juan DeMarco and Benny and June were probably his biggest, but they weren't, like, you're talking like $30 million. That's not a big hit. So this is kind of that next level. And I don't know what's next that really breaks big. Sleepy Hollow, maybe? No, I'm pretty sure there was something else. Yeah. No, Blow is after Sleepy Hollow. But yeah, he's just interesting watching his career go. I wonder if the director, Mike Newell, had seen him on 21 Jump Street where he plays more of a character like this. And that's why he cast him. Because he was an undercover cop. Yeah. So I wonder if that's why he cast him. Oh, man. I will tell you one thing. Like the intensity in that Japanese restaurant. Yeah, exactly what I was going to say. But he couldn't because he had the wire there and off. He also ended up giving the group some balls yeah the uh they're disrespectful as hell it's incredibly underrated i think kind of been forgotten in his oeuvre i think the most tense scene though is the one where there's a rat in the group and they're talking about when they're arrested and and and al pacino is kind of saying it and you know oh fuck they're gonna come after him but then you also start remembering bruno kirby was pulling some side deals with selling inhaling cocaine it's funny is that yeah neither one of them ratted each other out but all of it had here's the thing is the rap part had nothing to do with anybody in the group except that one guy who was going to run the bar and forgot to pay off the cops that's it and if he had just told him like i fuck up i i forgot to pay the cops i don't think he would have been shot but he would have been kicked out of the group and probably had his ass beat and then they wouldn't have had to kill someone else oh yeah exactly yeah oh god. Especially after that big execution scene where they took out rival gangsters. Yeah, yeah. I really thought that, oh, they're going to bring him in and they're going to at least bare minimum beat the fucking shit out of him. But no, they were just setting Bruno Kirby up. So they knew about the coke deal. Yeah, it's hard when you're undercover, you're not supposed to break the law. And while he doesn't take part of the shooting, he does take part of hacking somebody up, and that's a crime. Exactly. Yeah, I know. Yeah, and again, this being based on a true story, he's been in hiding ever since because there's a big, there's like a bounty on his head. Yeah, there's apparently another movie with his character that another mission that he went on where it's called Wise Gal. I think it was a TV movie with, I think, Jennifer Love Hewitt, Jason Gedrick, and James Caan. Huh, never knew about that. Yeah, I have to look it up, but I feel like his character, Joe Pistone, there's another case that got turned into a movie. What is our next one oh god sorry right one more thing about that ending though al pacino as soon as he like got that call and he was leaving telling his girlfriend you know i'll be back later if not don't wait up he knew it was going to be oh yeah everything just got revealed and he let someone into the organization who was an undercover cop that's why he left all his jewelry and everything yeah that was a really good scene because it's so quiet and he doesn't really do much besides you see the the the resignment i guess in his eyes just finishing it up going accepting his fate instead of going on the run because you know why they probably would have killed her if he ran exactly and it's like doesn't have much doesn't have much longer it's like you know that's pretty much where his life would be did you want to get any lower than where he is oh you know what i'm sorry i said i must have got confused on the way it was turned into a tv TV series with Jason Gedrick in the year 2000 called Falcone, which is just another play on it's still Joe Pistone's story is just they changed the character because it's a different mission. There is a really, really good TV show that came out the same exact time as 20 on Jump Street from the same creator. And it's called Wise Guy. It was only on for four years and really just watched the first year and it's about a guy who goes deep undercover with the mob and so every 13 episodes there's a new arc where he goes on a new mission you should watch that first season it's really fucking good yeah. What is our next for sure next will okay definitely part of a classic part of a classic franchise for Warner Brothers starring Chevy Chase called Vegas Vacation not the final entry I think a lot of people don't know that Christmas Vacation 2 even exists it was a TNT movie where it's cousin Eddie and the family and I think the very first Audrey goes with them to an island they They get kind of like, what is it, Robin Crusoe kind of thing, where they just trap the island trying to survive during Christmas. It's a comedy, but it's not very good. But for most people, this is it. And look, I know there's a lot that doesn't work in this. There's a lot of jokes that seem to kind

WELCOME BACK TO PURGATORY!!!! This week the boys talk about a little underrated horror/satanic film The Ninth Gate from 1999 adapted from the novel The Club Dumas(1993) By Arturo Perez Reverte.  The film stars Johnny Depp, Frank Langella, Lena Olin, Emmanuelle Seigner, Barbara Jefford, Jack Taylor, Jose Lopez Rodero, Tony Amoni and James Russo.   Thanks for checkin us out, if you'd like to find our back catalog go to Podbean.com   Intro & Outro music from The Ninth Gate soundtrack conducted and composed by the great Wojciech Kilar Intro "The opening titles"  https://youtu.be/-TsWxZ_i0Nk?si=e3YvCrfyCAAM0R8g Outro "Stalking Corso"  https://youtu.be/H9q4PjVi088?si=HCV5I5nnaxBmYpbc  

Send us a Text Message.This week on Fabulous Film & Friends we're giving our first impressions of Kevin Costner's Horizon An American Saga Part 1. The actor/director headlines the production along with Sienna Miller, Sam Worthington, Luke Wilson, Michael Rooker, Danny Huston, Will Patton, Abbey Lee, Jena Malone, Tatanka Means, James Russo, John Beavers, Jamie Cambpell, Michael Angarano, Dale Dickey and Jeff FaheyI'm Gino Caputi and joining me this week is Roseanne Caputi, my kid sister and my good friend, actor, photographer, gunslinger Gordon Alex Robertson.  Horizon follows several characters of the American Old West whose lives and personal fortunes intersect on a settlement land named Horizon, deep within Apache territory.    Follow the FFF Facebook page!https://www.facebook.com/groups/fabulousfilmandfriends Watch on Youtubehttps://youtu.be/lxAOyh-PlkA

MLVC's Madonna Summer Movie Series returns with our review of the 1993 film "Dangerous Game"! We discuss the movie, Madonna's amazing acting, James Russo's over-acting, Privlega and more! Follow MLVC on Instagram, X and Threads: @mlvcpodcast Subscribe to MLVC on our YouTube channel Donate to the podcast on Venmo: mlvcpodcast Listen to more episodes on Spotify/Apple/Amazon/Google Play or here: https://mlvc.podbean.com/ 

A very good continuation of the story, set hundreds of years after Caesar, in a dystopian future where Apes have become almost human and most humans have become like wild animals, running in packs and largely without speech.  It's well worth a trip to the theater, even if just for the excellent visuals.   0:12:30 - Box Office and upcoming releases. 0:27:45 *** What's Streaming  *** AMAZON MOUSE HUNT, Dir. Gore Verbinski – Nathan Lane, Lee Evans, Vicki Lewes, Michael Jeter, 1997. HOT TUB TIME MACHINE, Dir. Steve Pink – John Cusack, Rob Corddry, Craig Robinson, Clark Duke, Sebastian Stan, Chevy Chase, Lizzy Caplan, 2010. THE CROODS, Dir, Kirk DeMicco, Chris Sanders – Nicolas Cage, Ryan Reynolds, Emma Stone, Catherine Keener, Clark Duke, 2013. 0:34:45 - Trailers:  HORIZON: AN AMERICAN SAGA, Kevin Costner, Abbey Lee, Sienna Miller, Jena Malone, Danny Huston, Will Patton, Sam Worthington, Michael Arangano, Michael Rooker, Thomas Hayden Church, Giovanni Ribisi, Luke Wilson, David O'Hara, Angus Macfadyen, James Russo, Chapter 1, Chapter 2. MEGALOPOLIS – Aubrey Plaza, Adam Driver, Giancarlo Esposito, Nathalie Emmanuel, Shia LaBeouf, Jon Voight, Lawrence Fishburn, Jason Schwartzman, Feature.   0:46:00 - KINGDOM OF THE PLANET OF THE APES, Dir. Wes Ball  ( Grayson 7 / Roger 6 /  Chris 6.5 )   Hosted, produced and mixed by Grayson Maxwell and Roger Stillion.  Also hosted by Christopher Boughan.  Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions.  Please give a like and subscribe if you enjoy it.   Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates.  Rate, subscribe and leave a comment or two.  Every Little bit helps.  Send us an email to fortheloveofcinemapodcast@gmail.com

Today, on Crime & Entertainment, we have Ciro Dapagio back on the show. The last time Ciro was on, we were celebrating the worldwide release of Mob King at the premiere part at the world famous Guitar  Hotel at the Hard Rock. Today, we get the scoop on his latest mob based film, Silent Partners. I had a chance to see some of the film at Dances with Films, Film Festival in NY in December of last year. The story was phenomenal, and cast included household names like Antoni Corone, James Russo, Joseph D'Onofrio & Garry Pastore. He also details a medical miracle as he was diagnosed with stage 4 cancer, and just like in the movie business, he defied the odds and is continuing to grow his legacy for his family and kids, all while helping others along the way.  I'm truly honored to call Ciro a friend of mine, and we at Crime & Entertainment wish him nothing bit the best.Follow Ciro atFacebook https://www.facebook.com/MobKingCiroD...IGhttps://instagram.com/ciro_dapagio55?...IMDb bio for Ciro Dapagio  https://www.imdb.com/name/nm8746712/Links to Crime & Entertainment Like us on Facebook -   / crimeandentertainment  Follow us on -   / crimenentertainment  Listen on Spotify - https://open.spotify.com/show/4T67Bs5... Listen on Apple Music - https://pod

On the 22nd July 1934 John Dillinger left a movie theatre in Chicago having just enjoyed the Clark Gable film, Manhattan Melodrama. He didn't get far before FBI agents shot him four times - the era of the romantic bank robber was over - or was it? Johnny Depp's portrayal of Dillinger is iconic, even if we think the legacy rating of Public Enemies is low. Also starring Christian Bale, Marion Cotillard, Jason Clarke, Billy Crudup, Stephen Lang, Branka Katic, Stephen Dorff, David Wenham and James Russo, Tim Hewitt and Ollie think it's a movie overlooked. Links discussed Public Enemies The book on which PE is based Ollie on X Tim on X Learn more about your ad choices. Visit megaphone.fm/adchoices

James Russo is one of the most motivated most dedicated inspirational humans I know

We talk to Brian about his quest for knowledge in the film industry and how it has helped him in the success he's found today. More about Brian A. Metcalf Born in Seoul, South Korea, Brian A. Metcalf (WGA, PGA, DGA, VES, ASCAP) is an Asian-American, award-winning filmmaker (writer, director, producer and actor). He has worked with such talent as Academy Award® Nominee Mickey Rourke, Academy Award® Nominee Sean Astin, Golden Globe® Nominee Lou Diamond Phillips, Golden Globe® Nominee Penelope Ann Miller, Primetime Emmy® Nominee John Heard, Kiefer Sutherland, Tom Arnold, David Henrie, William Sadler, Mark Pellegrino, Michael Madsen, James Russo, Thomas Ian Nicholas and more. He previously worked as a creative director, writer, photographer, visual effects artist and supervisor on games, DVDs, web, EPKs, music videos, film and documentaries for all the major studios.In December 2022, Variety announced Metcalf was writing, producing, directing, show-running and starring in a new comedy TV series called "UNDERDEVELOPED." Metcalf and the cast promoted the show in a panel at San Diego Comic Con. In July 2023, Deadline announced that the show was being distributed by Tubi for a September 8th release.Before that, Brian produced, directed, wrote and acted in the crime thriller/drama "ADVERSE," distributed by Lionsgate. The film premiered as the opening film at the prestigious Fantasporto Film Festival and went on to win a number of awards, including a Platinum Remi Award from Worldfest. Variety's Joe Leydon said about the film that "Writer-director Brian A. Metcalf's indie offering boasts some impressive rough stuff and a surprisingly affecting turn by Mickey Rourke." The New York Times listed the film as one of their top 5 action films to watch for stating "The veteran ensemble in Brian A. Metcalf's visceral Los Angeles-set crime thriller supplies plenty of firepower in a bloody revenge narrative that sees Ethan deliciously hammering his enemies with a crowbar."Before "ADVERSE," Brian made the mockumentary comedy/horror "LIVING AMONG US," distributed by Sony Pictures and Fox International. Both film scripts along with 2 others (4 total) were placed into the permanent core collection at the Margaret Herrick Library by The Academy of Motion Picture Arts and Sciences.Metcalf received a scholarship and was accepted into Sundance Co//ab TV writing classes under the instructions of Angela LaManna and Peter Biegen.Metcalf continues to develop numerous projects for film, television, multimedia with his own company, Black Jellybeans which is located on the Warner Bros. lot. He lives in Los Angeles. https://www.imdb.com/name/nm1305849/?ref_=nv_sr_srsg_0_tt_1_nm_7_q_Brian%2520Metcalf --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemakingpod/support

Eddie Murphy's superstar-making role has him playing crafty Detroit cop Axel Foley, who travels to Beverly Hills in order to try to uncover the reasons behind the professional hit placed on an old friend (James Russo).  His investigative tactics immediately draw the attention of the local law enforcement there, who put a tail on Foley to make sure that his story of being on vacation there holds up. By-the-book detectives Taggart (John Ashton) and Rosewood (Judge Reinhold) are the cops assigned to staking out Foley, and Axel ends up dragging them both into the investigation through his charm, which ends up getting them into more and more hot water with the boss, Lt. Bogomil (Ronny Cox).  With the cops on his case, his boss back in Detroit threatening his livelihood, and armed henchmen at every turn, Foley has a hard time trying to maintain focus on his intended prey, the wealthy art dealer, Victor Maitland (Stephen Berkoff). Erratum: For some reason, I referred to Edward James Olmos as 'James Edward Olmos' when discussing "American Me"

James from Freelance Wrestling joins the podcast to discuss the latest show "Freelance Take This" and other Chicago shows taking place over the course of summer 2023. We discuss most improved wrestlers and our take son Bryan Keith, Chico Suave, Koda Hernandez, Shane Mercer and more! To listen other ways find the episode article on 2heelsandaface.com To Support our Podcast Please... 1. Click Play 2. Share with a Friend 3. Rate us on Spotify!

How do we teach students to make connections between mathematical concepts? In this episode Dr James Russo from Monash University will unpack how we give students the tools to make connections for themselves. Are connections just about context? Can we build some examples of important connections we should be making in different strands of mathematics learning (primary focus)? Host: Allan Dougan, Australian Association of Mathematics Teachers (AAMT) Guest: Dr. James Russo, Monash University Producer: Martin Franklin, East Coast Studio Find all episodes of Strategies for explicit teaching on the Mathematics Hub  See omnystudio.com/listener for privacy information.

On this episode, it's the season 13 finale as the guys finally get around to one of the most infamous flops of all time, The Postman! Why couldn't Costner see that this needed to be cut down? Did he have any moment where he considered not playing the main character while also directing? And how many times are people screaming “Postman!” In this movie? PLUS: The guys consider celebrity prize fighting! The Postman stars Kevin Costner, all his children, Olivia Williams, Larenz Tate, Will Paton, James Russo, Daniel von Bargen, Giovanni Ribisi, Roberta Maxwell, Joe Santos, Peggy Lipton, Brian Anthony Wilson, and Tom Petty as… Himself? Directed by Kevin Costner. Want more WHM? Join our Patreon fam today and instantly unlock hours and hours of exclusive bonus content, starting as low as $2 a month! We'll be releasing new Patreon content all throughout August, so it's the perfect time to join!Be sure to get in early and get your tickets for the WHM Holiday Extravaganza where we're talking The Santa Clause! Check out the WHM Merch Store featuring new Skeleton Juice, Spring Tour 2023, KONG & DILF Den designs!Unlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

"In acting, when you play villains, rule number one, if you judge your character, if you call a "villain" a villain, you have just lost yourself that role. The second that you judge what you are choosing for that character, you ruin the truth and the authenticity of what an individual who expresses like that, feels.""The process that an actor goes through is almost the exact same thing as a spiritual awakening. When you look at acting and a spiritual awakening, they become synonymous."- Actress AnnaLynne McCord on The Modern Spirituality ShowJoin Theosophist Benjamin W. Decker and his longtime friend, Actress/Activist AnnaLynne McCord, as they discuss the following topics including:

0:00 - Intro & Summary2:00 - Movie Discussion54:16 - Cast & Crew/Awards1:02:29 - Pop Culture /True Crime1:16:38 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Freelance Underground James Remix Music By _OwlGreen https://youtu.be/ahnXE1uPaLE  GoodNote Clothing: https://www.instagram.com/goodnoteco/?hl=en  Use code Ego to save 15%  Business Email: FitnessWithEgo@hotmail.com  Twitter: Egos1313  Instagram: Egos13 --- Support this podcast: https://podcasters.spotify.com/pod/show/robert-rodarte/support

  Longtime friends Mason Conrad and Joey Marx talk about teaming up as The Heroes of Our Time as they joined Windy City Slam Podcast for the first time. Conrad and Marx talk about their recent tour of Mexico, working as The OG'z as heels in GALLI Lucha Libre, friendships with Matt Bacaling, Big Jon Crowley, Carlos Robles and James Russo, time in Freelance Underground and Zelo Pro, expanding their reach in working for new promotions, Mason's love for Star Wars and more. Plus, Mike recaps Freelance Underground “Into the Fire” with exclusive comments from new FU Independent Champion Chico Suave. There's also talk of NWA 312, AAW Pro, Freelance Wrestling and Rocket Pro Wrestling. Mike Pankow is a wrestling super-fan who covers local Chicagoland wrestling and national promotions like AEW and WWE. If there is something going on in Chicago, Mike knows about it. Enjoy "Wrestling, Chicago-Style" on The Broadcast Basement On-Demand Radio Network! Music by Jason Shaw on Audionautix.com. Get your local wrestling fix every Tuesday everywhere podcasts can be found and always at WindyCitySlam.com!

FU Podcast - E160 - March 7, 2023 - Amber McNutt Guest: AMBER McNUTT BIO: AMBER MCNUTT - Executive Producer A native of West Memphis, Arkansas, Amber graduated from the University of Arkansas with a Bachelor of Science degree in Accounting and is a CPA. She had her first on-camera experience as a youth reporter for FOX which ignited a passion for performing that she would later put to work as a print model and actress in several motion pictures including “Undying” starring James Russo, “Redstone” starring Neal McDonough, and “CORSICANA” starring Isaiah Washington. Amber taught image classes in Northwest Arkansas as well. Amber eventually transitioned into the role of producer and most recently Executive Producer for the motion pictures “Night Night” starring Brenna D'Amico and Tony Todd, and “CORSICANA” where she served as not only Executive Producer but was also a daily producer, actress, and creative collaborator. Amber balances her career in the motion picture industry with being a mother of five and serving on several boards and charity committees in Highland Park, TX. Amber McNutt - Executive Producer Producer/Actor CORSICANA - Movie FU PODCAST - EPISODE 160 MARCH 7, 2023 Guest: AMBER McNUTT QUESTIONS: As a youth reporter for FOX, What was the biggest story you ever had? What inspired you to pursue a career in filmmaking? What do you enjoy most about your Producing and Acting career? What films have you produced in the past? What were some of the challenges you faced in getting where you are today? What are some of the most important qualities that an executive producer and actor need to have in order to be successful? Have you ever had to deal with unexpected delays or challenges during production? Have you ever had creative differences on set? How do you handle them? How did you know you wanted to be an actor? Can you tell us what Undying with James Russo is about? That project was also filmed in Corsicana, correct? What role did you play in Undying? When is the projected release date? And what platforms will the movie be on? What is the Corsicana movie about? How did you get into character in Corsicana? The movie Corsicana has been accepted in a few festivals, has it won any awards in those festivals? What was it like to work with Robert Johnson, Billy Blair, Major Dodge, Stacy Dash and Isaiah Washington in Corsicana? What role did you act in Redstone with Neal McDonough What was the most challenging aspect of your filmmaking career thus far? What advice would you give to aspiring filmmakers? Can you share any upcoming projects that you are excited about and involved in? --- Support this podcast: https://podcasters.spotify.com/pod/show/frustration-unlimited/support

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Chicago independent wrestling superstar Project M.O.N.I.X. returned to Windy City Slam Podcast to discuss the journey to his upcoming Freelance Underground Championship match against Calvin Tankman at “The Final Countdown,” James Russo's belief in him, his battle with Chico Suave and leaving the door open for their friendship and much more. Plus, Pro Wrestling Enforcer's Sean Lennon stops by to recap 2econd Wrestling's “Dynasty” and preview Warrior Wrestling 26. Plus, Mike talks DREAMWAVE Wrestling, Freelance Wrestling and Freelance Underground while next week's guest introduces himself to us. Mike Pankow is a wrestling super-fan who covers local Chicagoland wrestling and national promotions like AEW and WWE. If there is something going on in Chicago, Mike knows about it. Enjoy "Wrestling, Chicago-Style" on The Broadcast Basement On-Demand Radio Network! Music by Jason Shaw on Audionautix.com. Get your local wrestling fix every Tuesday everywhere podcasts can be found and always at WindyCitySlam.com!

Special Guest Tommy Allen, joins your hosts Dustin Melbardis and Russell Guest for the Retro Movie Roundtable as they revisit Beverley Hills Cop (1984) [R] Genre: Comedy, Action, Crime, Police   Starring:  Eddie Murphy, Judge Reinhold, John Ashton, Lisa Eilbacher, Ronny Cox, Steven Berkoff, James Russo, Jonathan Banks, Stephen Elliott, Gilbert R. Hill, Art Kimbro, Joel Bailey, Bronson Pinchot, Paul Reiser, Michael Champion   Director: Martin Brest Recoded on 2022-04-30

Quentin Jerome Tarantino (born March 27, 1963) is an American filmmaker, actor, film critic and author. His films are characterized by frequent references to popular culture and film history, nonlinear storylines, dark humor, stylized violence, extended dialogue, pervasive use of profanity, cameos and ensemble casts. Tarantino is also known for his choice of music in his films, including soundtracks that often use songs from the 1960s and 70s. This episode features 70 tracks curated by Tarantino and that he has used within his work. It was originally published as a playlist with a popular audio streaming provider (that shall remain unnamed) in July 2019. Lineup: Nancy Sinatra, Harry Nilsson, Isaac Hayes, Luis Bacalov, Rocky Roberts, Edda Dell'Orso, Dusty Springfield, Jennifer Jason Leigh, Kurt Russell, Samuel L. Jackson, Chuck Berry, Bernard Herrmann, Randy Crawford, The Tornadoes, Santa Esmeralda, T. Rex, Al Hirt, Charlie Feathers, Chris Isaak, The Statler Brothers, David Hess, The Delfonics, The Mavericks, Peggy Simms, George Baker Selection, Joe Tex, Soundgarden, Jerome Patrick Hoban, Johnny Cash, Ennio Morricone, Dave Dee, Dozy, Beaky, Mick & Tich, The Lively Ones, Buddy Guy, HOTEI, ZZ Top, Dick Dale, Al Green, The Brothers Johnson, Meiko Kaji, Kim Circle, Malcolm McLaren, Roy Orbison, Alex Orbison, Chuck Turner, Elisa Toffoli, Ricky Nelson, Shivaree, The Soundtrack Singers, Ann O'Day, David Bowie, Smith, The Robins, Jim Croce, The Marketts, The White Stripes, Bill Withers, The Blasters, James Russo, The 5.6.7.8's, James Brown, 2Pac, Stealers Wheel, Lole Y Manuel, Bloodstone, Brother Dege, Nymphomania, Bobby Womack, Léo Delibes, Kool & The Gang, Robert Palmer, Pacific Gas & Electric

Ciro Dapagio is the creator, writer, executive producer and a leading man in the upcoming film "The Mob King" due out this year in 2022. His career in TV and movies began in early 2018 and he is already known for being a guy who can carry a scene as the lead character.  His performance as Mike White in "The Mob King" and as Valentine in "Brass Knuckles" lead him to receive a best leading actor accolades and best picture awards. Ciro has teamed up with award winning filmmakers and cast members to create original content based on true events in multiple projects. He leads the cast of The Mob King with stars such as Robert LaSardo,, James Russo, Oksana Lada, Stelio Savante, Antoni Corone, Paul Borghese, Elisabetta Fantone, and Jamie Mattus.  Be sure to be on the lookout for The Mob King film dropping real soon. Ciro gives us a rare inside look on how this came to be along with everything he endured to make this vision into a reality. So, sit back and listen to Ciro Dapagio as he sits down with Crime & Entertainment.

Welcome back, bombers! On this episode of Not A Bomb, Troy and Brad tackle one of the most notorious bombs of all time from academy award winning director Kevin Costner. No, it's not Waterworld. Good guess. This week we dive into the post-apocalyptic, mail-man movie - The Postman. To assist in this 3 hour “epic”, Not A Bomb welcomes back - Sammy from the GGTMC. The gang quickly realizes that The Postman may be more poignant in today's political climate than when it was initially released. Sadly, the film is marred by poor dialogue, a 3 hour runtime, zero action, and Kevin Costner's comedic skills. The Postman is directed by Kevin Costner and stars Kevin Costner, Will Patton, Larenz Tate, Olivia Williams, James Russo, and Tom Petty…yes that Tom Petty. If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com. Also, if you like what you hear, leave a review on Apple Podcast.If you want to hear more of Sammy, make sure you subscribe to the Gentlemen's Guide to Midnight Cinema and be sure to leave them a review.Cast: Brad, Troy, Sammy

Mark and Kenny dive deep into the beloved and much admired first ballad on Erotica and its masterpiece of a video (the final - so far - collaboration with David Fincher) as well as some other not-so-masterful pieces Madonna worked on in 1993. Featuring Louise Oriole, Jonathan Ross, Christopher Walken, Willem Dafoe, Joe Mantegna, Anne Archer, Julianne Moore, Alfred Hitchcock, Gregory Peck, Louis Jordan, Alida Valli, Abel Ferrara, Harvey Keitel, James Russo, and … yes … Joey Buttafuoco. “Bad Girl” video directed by David Fincher (1993)Madonna performing “Bad Girl” on SNL (January 1993)Trailer for Body of Evidence directed by Uli Edel (1993)Trailer for Dangerous Game directed by Abel Ferrara (1993)Trailer for The Paradine Case directed by Alfred Hitchcock (1947)

Writer and Director, Matthew Goodhue, joins us to talk about his suspenseful new movie, WOE, now available on all VOD platforms! We talk about how the film's story came about, James Russo's performance as Uncle Pete, and the importance of coffee in movies.  It's all the important questions you'd expect us to ask plus a few of Erica's Stupid Questions. 

Pop Art Painter Jamie Roxx (www.JamieRoxx.us) welcomes Matthew Goodhue, Filmmaker (Film: Woe | Horror Mystery Thriller) to the Show!    ● IMDB: www.imdb.com/title/tt10269684 A brother and sister stumble upon their father's secret one year after his death. They soon learn that this secret may not be his alone. Writer/director Matthew Goodhue's terrifying WOE premieres on DVD and Digital June 15 from Gravitas Ventures and Kamikaze Dogfight. One year after their father's death, Charlie endlessly repairs the old family house while his sister, Betty, decides to sell their father's car without her brother's consent - the same car their father committed suicide in. As the two avoid confronting their prolonged grief, mental health, and each other, a hunchbacked creature shadows their every move. Their estranged Uncle Pete, believed to be dead, claims to have answers - if only Charlie and Betty would get out of their own heads and accept help.    Adam Halferty, Jessie Rabideau, Ryan Kattner and James Russo star in a spinechilling new film from Matthew Goodhue. ● Media Inquiries for Woe: October Coast www.octobercoastpr.com

Cerebrum 120 Minutes, Not Rated Written by Arvi Ragu, Gark D. Houk Directed by Arvi Ragu Synopsis: A test subject at a memory transfer lab commits a crime he cannot remember. A father, a son, a home-based laboratory manipulating memories. What could go wrong? Cerebrum is available NOW On Demand. Cerebrum stars James Russo, Alexxis … Continue reading Cerebrum

In this episode of Saturday Social, we talk with retail Store Manager James Russo, who also has done photography for 15 years. He shares some great stories of how he entered the social program, photography tips, and more.

It is a pleasure to welcome actress and dancer Adele Pomerenke to The Jake’s Take with Jacob Elyachar Podcast. From a very young age, Adele trained in circus arts, dance, and musical theatre. In 2012, she left her hometown of Seattle for Nashville to become a member of Dance Theatre of Tennessee. Adele Pomerenke danced and trained with companies such as the Nashville Ballet and the Roots Dance Project.While she was in Nashville, Adele appeared as the lead dancer in several music videos, including Bastian Bakers’ “Love on Fire,” Tim McNary’s “Be with Me,” and Frankie Ballad’s “Cigarette,” which was named one of Rolling Stone’s top country music videos of 2016. However, once she landed her first speaking role in the award-winning short film: Hair of the Dog, Adele Pomerenke decided to try her luck in acting. After being featured on Nashville and Still the King, Adele received a recurring role in Maggie Betts’ Novitiate, which received recognition at the Sundance Film Festival. Her experience lead Adele to pursue an acting career. In 2017, Adele Pomerenke participated in the Middle Tennessee 54 Hour Film Festival and won her first acting award for Best Leading Actress. Recently, Adele was cast in her first full-length feature, The Penitent Thief, where she worked directly alongside Kevin Sorbo and James Russo. After filming the movie, Adele decided that it was time to relocate from Nashville to Los Angeles. In this edition of The Jake’s Take with Jacob Elyachar Podcast, Adele Pomerenke spoke about her role in The Penitent Thief and the opportunity of joining SAG-AFTRA. She also shared her creating process when it comes to creating content including her #SocialDistancing YouTube video.

Hey everybody and welcome to another episode of The Wrinkled Rabbit Podcast! This week we are talking about Gus Van Sant's road trip drama, My Own Private Idaho. The film is about two hustlers traveling from Portland, Oregon to Idaho and finally to the coast of Italy in a quest to find an estranged mother. It stars River Phoenix, Keanu Reeves, James Russo, William Richert, Rodney Harvey, Chiara Caselli, Michael Parker, Jessie Thomas, Flea, and Udo Kier.   Next Week's Movie: Eternal Sunshine of the Spotless Mind YouTube: http://www.youtube.com/c/WrinkledRabbitProductions Twitter: https://twitter.com/WrinkledRabbit Instagram: https://www.instagram.com/wrinkledrabbit/

In this episode of Bromance, Papa Russo makes another appearance and talks about Vince as a kid and Vince tries to put one over on the old man but James Russo is sharp as a tack!Follow Vince Russo on Twitter : @THEVinceRussoFollow Ocho on Twitter :@RealBGOchoSubscribe to Vince Russo's YouTube Channel :https://www.youtube.com/pyroandballyhoo or search Vince RussoSubscribe to Vince Russo's Patreon :https://www.patreon.com/RussoTWCSubscribe to Vince Russo's The Brand on RELM : http://www.relmpremium.com/our-shows/Check out Vince Russo's Website :https://russosbrand.com/Get your favorite T-Shirts of the Brothers Grappler! markslayermerch.comFollow the Brothers Grappler on Twitter :@BGMarkSlayersCheck out the Brothers Grappler YouTube Channel!youtube.com/brothersgrapplerFollow the R&R Network on Twitter :@rrpodnetworkThanks for all of your support bro!

In this episode of Distance Makes the HeART Grow Fonder I chat with WGA | DGA | PGA | VES | ASCAP Award-Winning filmmaker Brian A. Metcalf. We discuss the importance of consistent study, networking, and what it means to truly commit to your craft! Brian's latest film, Adverse was recently acquired by Grindstone Entertainment and features Lou Diamond Phillips, Mickey Rourke, Penelope Ann Miller, Thomas Nicolas, Kelly Arjen, and Sean Astin. Coming to a theater near you soon!  About my guest:  Born in Seoul, South Korea, Brian A. Metcalf (WGA, PGA, DGA, VES, ASCAP) is an Asian-American award-winning filmmaker (writer, director, producer and actor). His most recent film, Adverse, is a drama/thriller that he produced, directed, wrote and acted in and stars a large ensemble cast with Academy Award® Nominee Mickey Rourke, Academy Award® Nominee Sean Astin, Golden Globe® Nominee Lou Diamond Phillips, Golden Globe® Nominee Penelope Ann Miller, Matt Ryan, Jake T. Austin, Andrew Keegan, Luke Edwards, Shelley Regner, Thomas Ian Nicholas and more. The film premiered as the opening film at the prestigious Fantasporto Film Festival and went on to win several awards, including a Platinum Remi Award from Worldfest. Previously, Metcalf worked as a creative director, writer, photographer, visual effects artist and supervisor working on games, DVDs, web, EPKs, music videos, film and documentaries for studios such as Warner Bros., Sony, Disney, FOX, Paramount, Lionsgate and more, including the award-winning music video, "Money Shot" by the band Helmet and Fox's 24: The DVD Board Game, starring Kiefer Sutherland. His directorial debut was the award-winning short film "Sorrows Lost." Metcalf moved on to write, produce and direct The Lost Tree, starring Thomas Ian Nicholas, Lacey Chabert, Scott Grimes, Clare Kramer and Michael Madsen and was screened at The Director's Guild of America. The premiere was held at the TCL Chinese Theatres and released theatrically on Friday the 13th. The Academy of Motion Picture Arts and Sciences placed this script and two other scripts Brian wrote into their permanent core collection at the Margaret Herrick Library. Metcalf's next film which he wrote, directed, produced and acted was "Living Among Us," starring William Sadler, Primetime Emmy® Nominee John Heard, James Russo, Andrew Keegan, Esme Bianco and Thomas Ian Nicholas. The film was released in theaters and distributed through Vision Films/Sony Pictures Home Entertainment and FOX International. Metcalf also helped to produce the documentary, Little Gandhi, which was announced for Oscar Consideration on October 6th, 2017 , the first ever nomination from Syria. Metcalf also won the 2017 Murray Weissman Movie Poster award for designing the movie poster for Little Gandhi. Upcoming projects include a film written by "Sideways" writer, Rex Pickett. Metcalf continues to develop numerous projects for film, television, multimedia. He is living in Los Angeles. Metcalf continues to develop numerous projects for film, television, multimedia. He is living in Los Angeles.

I HAVE Seen That Movie Recommendation: Better Than Chocolate. 1999. Romance/Comedy. Directed by: Anne Wheeler. Starring: Wendy Crewson, Karyn Dwyer, Christina Cox, Ann-Marie MacDonald, May Delver. Mini Review: Bombshell. 2019. Biography/Drama. Directed by: Jay Roach. Starring: Charlize Theron, Nicole Kidman, Margot Robbie, John Lithgow, Kate McKinnon.  I HAVEN'T Seen That Movie Review: My Own Private Idaho. 1991. Drama. Directed by: Gus Van Sant. Starring: River Phoenix, Keanu Reeves, James Russo, William Richert, Rodney Harvey. Also mentioned: 

Steve Stanulis | Actor, Producer, Filmmakerhttps://www.imdb.com/name/nm1468541/Steve Stanulis began his career as a decorated NYPD officer. When he was injured on the job, Steve worked security for a number of A-list celebrities, such as Leonardo DiCaprio. His A-list clients suggested that Steve pursue an acting career, and after studying at Manhattan's HB Studios, he was cast in The Replacements and Gangs of New York. As a working actor, Stanulis appeared in major studio movies (The Interpreter, I Now Pronounce You Chuck & Larry), acclaimed indie films (Cupidity, Over the GW), and TV shows (The Sopranos, the new HBO series The Deuce), He also branched into production, starring in and producing the short films Dick & Jane and Because of You, and the award-winning feature The Invisible Life of Thomas Lynch.In 2012, Steve Stanulis founded Stanulis Productions, Inc., with the feature film Long Shot Louie, starring Jake Robinson (The Carrie Diaries), winning Best Drama at the Williamsburg Film Festival. The film is available on Amazon Prime. Steve then created the Off-Broadway play Stripped, based on his experiences as a Chippendale dancer. Acclaimed in the New York Times, it was picked up by Planet Hollywood for a successful run on the Las Vegas strip.Steve continuing to pursue his acting career, with co-starring credits in Aftermath with Tony Danza and Anthony Michael Hall, Darkroom with Elizabeth Rohm, Sam, executive produced by Mel Brooks, and American Fango, winner of a dozen Best Feature awards, and set for Sony/Vision Films release in November 2017. Steve also starred in and produced the comedy-drama The Networker, co-starring William Forsythe, Sean Young and Stephen Baldwin, directed by indie icon and frequent Stanulis collaborator John Gallagher, released in September 2017 by Sony's The Orchard, making three consecutive films (Sam, American Fango, The Networker) acquired by Sony companies in less than a year, a truly unique achievement.2016 was an especially prolific year for Steve, producing and starring in Say Something, co-starring Marc John Jeffries, a cautionary anti-terror drama filmed in Times Square, receiving massive media exposure, and also available on Amazon Prime; directing the feature-length musical documentary Legends of Freestyle starring Lisa Lisa and C & C Music Factory, set for November 2017 release, and creating the pilot for the TV series The Fifth Borough, starring Cathy Moriarty, Richard Grieco, Vincent Young, Vincent Pastore, and Joseph D'Onofrio, in development at Netflix.Stanulis recently created Chaos Production Inc. and announced his first project, the horror movie Clinton Road, which he will direct, starring Ice T, Vincent Pastore, Bo Dietl, Ace Young and Fredro Starr. Steve has a slate of at least films, Wasted Talent, Hinsdale House and The Fifth Borough film scheduled as a 2019 release on Netflix. The Fifth Borough which he will direct and star will include James Russo and Tara Reid. The Fifth Borough is available now!

Xavier, Ian, Dave and Chris (videoed in from an undisclosed location) pick each other's brains as we go through some dirty antiques and even dirtier laundry of The American Pickers. A few secrets lie beneath the happy, fun, rusty premise of this show and it just needs to be brought to anyone's attention that wants to hear us roast two old men for an hour okay bye bye and good luck in your bundles. American Picker Website: http://www.antiquearchaeology.com/ Frank's Website: frankfritzfinds.com Mike's Twitter: https://twitter.com/americanpicker Frank's Twitter: https://twitter.com/FritzPicker Mike's Clothing Line: http://www.ontwolanes.com/ Article on the dark secrets by James Russo: https://screenrant.com/american-pickers-dark-secrets-trivia-facts/ Another great article outlining the Pickers: https://www.purevolume.com/entertainment/whats-real-and-whats-fake-in-american-pickers/ Article outlining Frank's Responses to some controversy: https://qctimes.com/news/local/barb-ickes/ickes-frank-fritz-is-fuming/article_b418479f-8e0a-5cd8-8d54-71eda9286e7c.html Workshop Hero Video: https://www.youtube.com/watch?v=VHXZHHH6Yyg Check out Anchor.fm for audio versions of our podcast on 13 major platforms: https://anchor.fm/itsbeenawhilepodcast Listen on Spotify: https://open.spotify.com/show/7nttbdlKOY1060TIrBDDBF Or Apple Podcasts: https://podcasts.apple.com/us/podcast/its-been-awhile-podcast/id1492875822 And even Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xMWVhMTcxMC9wb2RjYXN0L3Jzcw== Our Instagram isn't popping, but it can be with your help: https://www.instagram.com/itsbeenawhilepodcast/ Intro/Outro Music by Heedseeker: https://www.instagram.com/heedseeker/?hl=en Art Design by Quinn Koeneman https://www.instagram.com/aint_no_rest_for_the_quinn_kid/ Logo Font by: Gabriel deVue Soundboard Software: https://www.jinglepalette.com/ Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/itsbeenawhilepodcast/support

Kevin is an actor and producer, known for Badland (2019), Zeroville (2019) and Big Legend (2018). Recent original motion pictures which did not receive a long enough brick & mortar release are finding massive new audiences. Such is the case with Kevin’s indie Western, Badland, in which he produced and stars alongside Mira Sorvino, Bruce Dern, Wes Studi, Trace Adkins, James Russo, Tony Todd and more. Hitting Netflix two Fridays ago, the Papa Octopus Prods. presentation started out at #3 on Netflix's movie chart and #7 overall amongst Netflix's massive library of offerings appealing to their 167 million subscribers. This astounding massive audience with exceptional word-of-mouth has given new synergy to the labor of love project Kevin Makely developed, fueled and actualized.

An amazing phenomenon is happening as we dig into another month of the "new normal" and Americans are looking for the newest and best entertainment choices in their living rooms. Recent original motion pictures which did not receive a long enough brick & mortar release are finding massive new audiences. Such is the case with hyphenate KEVIN MAKELY's indie Western, BADLAND (Cinedigm), in which he produced and stars alongside Mira Sorvino, Bruce Dern, Wes Studi, Trace Adkins, James Russo, Tony Todd and more. Hitting Netflix only last Friday, March 27th the Papa Octopus Prods. presentation is #3 on Netflix's movie chart and #7 overall amongst Netflix's massive library of offerings appealing to their 167 million subscribers. This astounding massive audience with exceptional word-of-mouth gives new synergy to the labor of love project Makely developed, fueled and actualized. The satisfying Western is, obviously, appealing to far more than genre enthusiasts with its especially strong cast, an entertaining spin and an a solidly crafted story. Directed by Justin Lee, Kevin Makely persuasively inhabits the lead role of 'Matthias William Breecher,' a man of few words, many bullets and lethally efficient manhunter. With his gravelly voice, formidable stare and confidant physicality, Makely establishes his tough-guy bona fides while portraying a Pinkerton detective hired by a slave-turned-Senator (Tony Todd) to track down war criminals who fought for the Confederacy. Indeed, throughout much of Badland, Makely's understated performance is an unassuming anchor for scenes with an especially strong ensemble whose colorful dialogue is peppered with memorable lines. Singer/actor Trace Adkins portrays a grandiloquent former general who, not surprisingly, would rather not be hanged for his wartime misdeeds. Dern and Sorvino's effective and affecting performances, are so emotionally and dramatically satisfying, they together forward the storyline via a chilling run-in with a violent land-grabber played by James Russo. 2020 Oscar honorree, Wes Studi figures into the mix as Breecher’s (Makely) not-entirely-friendly rival in the manhunting business Produced by Makely's Papa Octopus Productions (an amazing story in itself!) with partners Jennifer Ambrose and Shawn Nightingale, Badland is a Western in which te good guys actually have to pause and reload — repeatedly — to come out the other side. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Who is Kathy Christopherson: Kathy, native Chicagoan, is an actress, writer, and rabble-rouser. Kathy has had the opportunity to work across some wildly creative talent, including Grace Zabriskie, Michael Madsen, Sean Young, James Russo, and the late Roy Scheider. She most recently guest-starred on Netflix’s “Lucifer”, and has recurred on hits shows like “Californication” “Private Practice” “Y&R”, and regularly on CW’s Emmy-award-winning “Kamen Rider Dragon Knight.” She’s played on local stages at The Geffen, The Odyssey, and The Court theaters. And made a splash as creator, writer, producer, star in the web series “In the Bath with Kath.” Yet, you still may know her as the lady in the infamous ‘Cooper’ commercial for expedia.com. Next up, Kathy will appear in the documentary “American Badass: a Michael Madsen Retrospective” during which she reminds Madsen that she is still plotting revenge. imdb.me/kathychristopherson For more info, don’t go to her outdated website or non-existent Instagram. Find her on FB or Twitter to fight about politics.  Who is Hillary Clinton: Hillary Rodham Clinton has served as secretary of state, senator from New York, first lady of the United States, first lady of Arkansas, a practicing lawyer & and professor, volunteer & activist. Hillary ran for president in 2016, championing her belief that Americans are stronger together. In July 2016, she became the first woman to earn a major party’s nomination for president, and went on to earn 66 million votes. How to show love to Project Woo Woo: Click here to buy Lisa a cup of joe.   This episode was also supported by Amazon. Click on this link --> Amazon any time you need to make an Amazon purchase. A small percentage of your purchase will support the show (no extra cost to you).  I receive an affiliate commission from some of the links above. Go get your free be happier than all your friends morning routine over here --> Project Woo Woo Listen to Lisa's other podcasts at Love Bites & Honestly Lisa

We are beyond excited to share with you the very first podcast episode of 2020! Michael is joined by Lucas Miles. Lucas Miles is a writer, speaker, film producer, actor, director, talk show host, pastor, and president of the Nfluence Network. Perhaps most known for his national podcast show, The Lucas Miles Show, on Faithwire, as well as authoring the book, Good God, Lucas also recently completed directing the film, The Penitent Thief, starring Kevin Sorbo and James Russo (2019). In this episode, you will learn how we can overcome the negative effects of social media, grow in our faith, and stop believing the lies that society might place on us. I hope you enjoy the refreshing insight that Lucas has to share. To learn more about Lucas Miles, you can follow him on social media @mrLucasMiles. Also, check out his book Good God and be sure to grab a copy. --- To learn more about Michael Anthony and Courage Matters, visit us at: www.CourageMatters.com To find out more about the NEW Courageous Life Planning System, visit: www.CourageousLifeSystem.com

James Russo, from Freelance Underground and Galli Lucha Libre, helps us recap the last Freelance UG show and prepare for the next. The next show is Mitchellpalooza on August 17th, at the Church Street Brewery in Itasca, IL. Doors open at 6:30pm, bell time is 7:30pm. $20 cash only at the door. Adv tix: https://freelance-underground.ticketleap.com/mitchell/ How to Support 2 Heels and A Face Wrestling Podcast 1. Click the Play button 2. Share with a friend 3. Visit our merch store at What A Maneuver! and now at Pro Wrestling Tees! 4. Get you an awesome 2 Heels And A Face pin at WrestlingWithUnicorns.org 5. Leave us an iTunes review

@Hank312 and @IncidentalNerd from @WTAR4Life enjoy some delicious tacos from La Granja Restaurante with Freelance Underground's, James Russo. Find Freelance Underground on the line: Freelance Underground on facebook: https://www.facebook.com/FreelanceUnderground/ Freelance Underground on Instagram: freelanceunderground Freelance Underground on twitter: @FreelanceUndrgd Upcoming shows: Freelance Wrestling: Match 4 out of the best of 5 Series for the Freelance Underground Championship: GPA vs. Craig Mitchell Get Over or Die Tryin’ - 50th Show Friday, August 16th, 2019 Doors Open at 8:00 pm Bell Time 9:00 PM Logan square auditorium 2539 N. Kedzie Blvd. Chicago, IL Freelance Underground: Freelance Underground Presents Mitchellpalooza Saturday August 17th, 2019 Doors Open at 6:30 pm Bell Time 7:30 pm Church Street Brewery 1480 Industrial Drive, Unit C Itasca, IL

James Russo, from Freelance Underground and Galli Lucha Libre, helps us recap the last Freelance UG show and prepare for the next. The next show is Boiling Point on June 15th, at the Church Street Brewery in Itasca, IL. Plus, a quick AEW discussion. If you attend the Freelance Wrestling show, the night before in Logan Square you can buy tickets to Boiling Point for just $10! Otherwise, it's $20 at the door (Cash only). Buy Tickets: https://freelance-underground.ticketleap.com/boiling/ Social Channels: https://twitter.com/FreelanceUndrgd https://www.facebook.com/FreelanceUnderground/ https://www.youtube.com/channel/UClf9d9D-JHVmopjx4xwHEPg https://www.instagram.com/freelanceunderground/ Big Match Announcement: https://www.youtube.com/watch?v=-3kcnMa9RIQ How to Support 2 Heels and A Face Wrestling Podcast 1. Click the Play button 2. Share with a friend 3. Visit our merch store at What A Maneuver! (whatamaneuver.net) and now at Pro Wrestling Tees! 4. Get you an awesome 2 Heels And A Face pin at WrestlingWithUnicorns.org

Watching a talented actor for the first time is a treat for movie fans. Seeing them excel in their first lead role -- in a feature film no less -- is a gift. Such is the case with Katherine Munroe in the upcoming Possession Diaries. And here's a treat for Basement Dwellers everywhere: From The Basement not only reviews Katherine's first feature film, but has an exclusive interview with the star as well. Jason and Katherine talk for 14 minutes about how she landed the role of Rebecca in Possession Diaries, what it was like working with veterans James Russo and Noel Gugliemi, and the pressures that come with starring in, what is essentially, a one-woman show. It's a great conversation, and hopefully we'll see a lot more of the star in the future. Meanwhile, Jason and Shawn lament the death of Santa Clarita Diet, talk the Once Upon a Time in Hollywood, Terminator: Dark Fate and Star Trek: Picard trailers, and admit to being man children and cranky old men at the same time. Throw in this morning's segment from the mighty Radio NL Morning News and you've got yourself a podcast for the ages. Or at least the weekend. So push play, enjoy, and stick with us! Possession Diaries opens June 4.

Co-owner and promoter of Freelance Underground joins us in the Wrestling Buffet Line! This is part 2 of 2. In this buffet line episode, we'll discuss the final match of Freelance Underground's latest show that took place on February 8th at the Church Street Brewery. In addition, we'll do a little gushing over the man called Sting and we get into what you can expect at their next show on April 13th! Follow them on twitter at @FreelanceUndrgd or find them on Facebook at this URL: https://www.facebook.com/FreelanceUnderground/ James can be found on twitter at @FU_JamesC How to Support 2 Heels and A Face Wrestling Podcast 1. Click the Play button 2. Share with a friend 3. Visit our merch store at What A Maneuver! (whatamaneuver.net) 4. Get you an awesome 2 Heels And A Face pin at WrestlingWithUnicorns.org

Co-owner and promoter of Freelance Underground joins us in the Wrestling Buffet Line! This is part 1 of 2. In this buffet line episode, we'll discuss Freelance Underground's latest show that took place on February 8th at the Church Street Brewery. In addition, we'll do a little gushing over the man called Sting and we get into what you can expect at their next show on April 13th! Follow them on twitter at @FreelanceUndrgd or find them on Facebook at this URL: https://www.facebook.com/FreelanceUnderground/ James can be found on twitter at @FU_JamesC How to Support 2 Heels and A Face Wrestling Podcast 1. Click the Play button 2. Share with a friend 3. Visit our merch store at What A Maneuver! (whatamaneuver.net) 4. Get you an awesome 2 Heels And A Face pin at WrestlingWithUnicorns.org

Quizmasters Lee and Marc celebrate twenty-five fabulous episodes of the Know Nonsense Trivia Podcast by sharing some stats about the KnowNo, introducing a new segment ("Best Worst Answers"), discussing what their respective Dark Places look like, and twenty five fresh trivia questions! Rate My Question Who were the four main actresses on The Golden Girls? – Marc Which Disney princess is the only one to receive a star on the Hollywood Walk of Fame? – Kristin What do the letters stand for in “EPCOT” ? – Kristin Questions Round One How many denominations of Euro coins are there? What is the lowest denomination paper bill that the U.S. ever issued? "March of the Volunteers" is the national anthem of which country? In the weeks following the celebrity chef's death in June of this year, what Anthony Bourdain book topped the NYT Bestseller list for three weeks in a row? What are the three most abundant elements in the universe? If you fancied yourself a nut enthusiest, what are the three types of fresh walnuts you'd want to have on hand at all times? Round Two What were the Washington Wizards called before their name change in 1995? In 1951, what general told a joint session of congress "In war, there is no substitute for victory." Ray Liotta, James Russo, Dennis Hopper and Robert Knepper have all played what New Jersey singer in film? "What A Fool Believes," "Takin' It To The Streets," and "It Keeps You Runnin'" are all songs by what band? How many times did The Beatles appear on the Ed Sullivan Show? In 1988, what became the second Asian country to host the Summer Olympics? Missed Corrections Erin has more Huey Lewis & Back to the Future soundtrack information. Tim has additional information about the Amistad. Statler and Waldorf are the old men in the balcony in the Muppets. Best Worst Answers What unit of weight is the equivalent to .002 lbs? Before Barbara Bush, what First Lady’s husband and son both served as U.S. president? What does Yeet mean? Who became the first husband and wife to win the Country Music Awards best female and male singer awards in the same year? What were the Washington Wizards called before their name change in 1995? What are the 3 earth signs in astrology? What 2001 live action animated film stars Chris Rock, Laurence Fishburne, David Hyde Pierce, William Shatner and Bill Murray? In the System of a Down song Toxicity, what is a past time activity? Final Questions What was the name of the child that Dan and Roseanne had in the seventh season of Rosanne? For what fictional product is the following a sales pitch for? "For a number of years now, work has been proceeding in order to bring perfection to the crudely conceived idea of a transmission that would not only supply inverse reactive current for use in unilateral phase detractors, but would also be capable of automatically synchronizing cardinal grammeters. Such an instrument is this one. Now basically the only new principle involved is that instead of power being generated by the relative motion of conductors and fluxes, it is produced by the modial interaction of magneto-reluctance and capacitive dirac-tance. The original machine had a base plate of pre-famulated amulite surmounted by a malleable logarithmic casing in such a way that the two spurving bearings were in a direct line with the panametric fan. The latter consisted simply of six hydrocoptic marz-le-vanes, so fitted to the ambifacient lunar waneshaft that side fumbling was effectively prevented. The main winding was of the normal lotus-o-delta type placed in panendermic semi-boloid slots of the stator, every seventh conductor being connected by a non-reversible tremie pipe to the differential girdle spring on the “up” end of the grammeters. This magnificent machine has now reached a high level of development, and it’s being successfully used in the operation of nover-trunnions. Moreover, whenever a forescent skor motion is required, it may also be employed in conjunction with a drawn reciprocation dingle arm, to reduce soy-nus-oidal re-pleneration. It's not cheap, but I'm sure the government will buy it.” What fictional product is that a sales pitch for, written by a British science student in 1944, reprinted by TIME magazine in 1946, realized in a technical document by General Electric in 1962, and later popularized by voice over actor Bud Haggert in the late 70s?

País Estados Unidos Dirección Kevin Costner Guion Brian Helgeland, Eric Roth (Novela: David Brin) Música James Newton Howard Fotografía Stephen F. Windon Reparto Kevin Costner, Will Patton, Larenz Tate, Olivia Williams, James Russo, Rex Linn, Tom Petty, Shawn Hatosy, Mary Stuart Masterson, Peggy Lipton, Daniel Von Bargen Sinopsis En el año 2013, los Estados Unidos son un lugar sin autopistas, leyes, ni esperanza en el futuro. Tras una guerra apocalíptica que casi ha destruido la civilización, los supervivientes intentan reagruparse en poblados, llevando una vida tranquila aunque muy primitiva. A este mundo atroz llega un enigmático personaje que viaja sin rumbo fijo y que tiene un don especial para interpretar a Shakespeare; pero posee algo mucho más importante: la capacidad de renovar las esperanzas perdidas.

We start this week with the original stoner comedy Cheech & Chong: Up In Smoke (1978) which meanders about a bit and is basically harmless and… what was I saying, man? Is that pizza? Then its face-a-palooza with Amy Heckerling’s debut film Fast Times at Ridgemont High (1982) including Sean Penn playing a stoner-surfer and Phoebe Cates taking her bikini off. Lastly, but certainly not leastly, adults be warned - there is a new drug menace sweeping the nation and this instructional musical PSA will tell you all about the dangers of Reefer Madness: The Movie Musical (2005). Won’t somebody think of the children?!Also: Dee lists weed slang. American catnip is the good shit. Korn - Earache My Eye. Off topic on The Money Pit (1986). $12.50 to see Van Halen? Five point plan. Joe does Sade. Guitar smash! Off topic on The Last Boy Scout (1991). James Russo. The Galleria? Pall-malls. Randolph Scott! Neve Campbell can really dance. Joe does Walken, Dee does Wahlberg. Buddy Christ. Cat whispering. Detective Mittens. Off topic with Indiana Jones and The Last Crusade (1989). We play a game of “Rolling Stoners”

Berkreviews.com Movie Club episode 075 - My Own Private Idaho (1991) The month of June features movies that qualify as LBGTQ+ and Jonathan (@berkreviews) picked My Own Private Idaho (1991). Corey (@coreyrstarr) has seen this Gus Van Sant film before that stars River Phoenix, Keanu Reeves, and James Russo, but Jonathan had not. There are some interesting aspects of this film including a scene where models on magazine covers come to life and start conversing about prostitution. There are some definite rough spots in the film, but overall both Jonathan and Corey enjoyed it. Next weeks episode: A Single Man (2009) Corey picked A Single Man (2009) for next weeks episode of movie club. The film is directed by Tom Ford and starring Colin Firth, Julianne Moore, and Matthew Goode. Colin Firth was nominated for the Best Performance by an Actor in a Leading Role at the Oscars that year. Unfortunately, this film isn't easy to get as it doesn't appear to be available on any streaming platforms. S --- Support this podcast: https://anchor.fm/berkreviewscom-moviecasts/support

In der 97. Ausgabe dreht sich alles um Die neun Pforten mit Johnny Depp in der Hauptrolle. Dieser Film von Roman Polansky aus dem Jahr 1999 basiert auf den Roman Der Club Dumas und weicht in vielem doch weit von seiner Vorlage ab. Was genau und wie wir den Film finden und anschliessend bewerten, das erfahrt ihr im entsprechenden Review.

País Estados Unidos Director Michael Mann Guion Ronan Bennett, Michael Mann, Ann Biderman (Libro: Bryan Burrough) Música Elliot Goldenthal Fotografía Dante Spinotti Reparto Johnny Depp, Christian Bale, Marion Cotillard, Billy Crudup, Stephen Dorff, Stephen Lang, James Russo, David Wenham, Christian Stolte, Jason Clarke, Branka Katic, Wesley Walker, Stephen Graham, Giovanni Ribisi, Matt Craven, Leelee Sobieski, Channing Tatum, Emilie de Ravin, John Ortiz, Domenick Lombardozzi, Bill Camp, Lili Taylor, Rebecca Spence, Carey Mulligan Sinopsis Basada en la obra de Brian Burrough "Public Enemies: America's Greatest Crime Wave and the Birth of the FBI, 1933-43". Narra la historia de Melvin Purvis (Christian Bale), el agente del FBI que en los años treinta dirigió la búsqueda del legendario atracador de bancos John Dillinger (Johnny Depp) y su banda.

Welcome the newest episode of Dark Discussions, your place for the discussion of horror film, fiction, and all that’s fantastic. Back in the 1960’s director Roman Polanski was able to establish himself as a top genre director. With the horror comedy, The Fearless Vampire Killers, the horror thriller, Repulsion, and the horror film Rosemary’s Baby, he became world famous. With the success of the latter, it was a film that helped bring the “devil” films about, where Satan was an actual being that would and will corrupt you. Years later, Polanski revisited this premise with the film from 1999 entitled The Ninth Gate. Rare book dealer, Dean Corso, is hired by mysterious businessman Boris Balkan to take his rare book, only three in the world, to Europe to compare with the other two copies. Rumor has it that the book was written by a disciple of Lucifer and could bring forth the devil. But Boris thinks his copy may actually be a forgery. Soon Dean finds himself wrapped in a mystery where a mysterious woman begins to follow him and the owners of the other two books die mysteriously. Is the myth about the book actually true? Starring Johnny Depp along with a strong supporting cast including Lena Olin, Frank Langella, Emmanuelle Seigner, and James Russo. The movie was based on a book entitled The Club Dumas by Arturo Pérez-Reverte. With its simple yet curious plot, and its very ambiguous ending, the film received mixed reviews by critics and audience alike. Dark Discussions takes a look at this curiosity and gives their opinions. As always we welcome your comments: darkdiscussions@aol.com (written email or attached mp3 files) WWW.DARKDISCUSSIONS.COM

The Total Tutor Neil Haley will interview Celebrity Michael Jai White of VIGILANTE DIARIES. The film features an all-star ensemble cast led by Paul Sloan (I Am Wrath, The Night Crew), Quinton "Rampage" Jackson (A-Team, UFC Light Heavyweight Champ), action icon), Jason Mewes (Clerks, Jay & Silent Bob Strike Back) and Michael Madsen (Reservoir Dogs, Kill Bill).  The film is directed by Christian Sesma (Shoot the Hero) from a script co-written by Christian Sesma and Paul Sloan.  SYNOPSIS: Jason Mewes stars as an in-your-face filmmaker known for his web videos of an urban avenger known only as ‘The Vigilante' (Paul Sloan). But when The Vigilante terminates a creep with deep connections, it'll trigger a live-feed bloodbath between the Armenian mob, Mexican cartels, a rogue team of Special Forces commandos, and an international black ops conspiracy that's about to make things very personal. UFC legend Quinton ‘Rampage' Jackson, Michael Jai White, Jaqueline Lord, WWE star Sal ‘Chavo' Guerrero, Jr., James Russo and Michael Madsen co-star in this explosive throwback packed with badass swagger, hardcore firepower and bone-crunching action.  

This week we managed to rope Gerald James into talking about a movie he had never seen or cared about. 1996's The Phantom, starring crowd-favorite Billy Zane, is a forgettable thrill ride that never left us bored or short on jokes. Far more fun than you'd think, but far less fun than it should be, the pulp comic strip character is treated well, and delivers enough entertainment to kill 2 hours. Though its PG rating leaves us all baffled. Billy Zane is adored, Allen confuses James Russo for James Remar and thinks he's a different guy than he is in this movie, and Gerald doesn't like any of this. Also in this episode, we remember Godsmack and lament the things they did to deserts in the mid-00's, radio DJs are hated again, and podcast plans are made for Halloween.  Email: fourcolorfilm@gmail.com Twitter: @fourcolorfilm Facebook: facebook.com/fourcolorfilm Website: fourcolorfilm.com

EZ WAY BROADCASTING  POST #EZWAY ON ANY OF YOUR POSTS PLEASE  EZ TALK LIVE - Helps you connect to Hollywood!  Brought to you by STOPTOUR.ORG Segments EZ WAY 411 - Eric Zuley is a 7 time award winner, congrassionally recognized and for his committee efforts and world wide awareness he had a award named after him from the MMPA and city and county of Los Angeles. Eric Z. has been a TV & Radio talk show host for over 7 years and currently is the founder of the WTV & EWB Network. EZ will be giving you all the updates and insight on how to connect with the stars. EZ WAY CARES - The Peace Fund Games celebrity paintball games for charity. EZ TALK LIVE GUESTS: 10:35 am Actor "RICK MORA" in the Block Buster TWLIGHT / Yellow Rock with Michael Biehn, James Russo and the Spears Brothers which received 18 film awards / SAVAGED / The Dead and the Damned. Rick is the voice of Young Turok (alongside Irene Bedard and Adam Beach) in the animated feature Turok: Son of Stone. TALENT TIME ARTIST: "MaryandBrianna Ferraro" are 17 year old twins who are singer/songwriters Known for their Song "HEY TAYLOR SWIFT".  They have just Launched their First Mini Album Available @ http://www.cdbaby.com/cd/maryandbrianna . Tune In And Here Their Music/Interview.. THEEZSHOW.COM Learn More

Planted in the womb of my mother, a seed from the Sun. Birthed in a field of corn called Los Angeles but raised on 100 acre cattle farm in Crescent City, California. Born Yaqui and Apache of Mexican Indian descent, a native man raised from the land with no electricity, no plumbing, a wood burning stove and mother who possessed the powers of mother earth.Returning to civilization for an education by socialized America, I acquired a bachelor's degree from California State University, Northridge. After college I was encouraged by a friend to meet his modeling agent. My life would never be the same. It was legendary male super model agent Omar Alberto's idea to try the Native Man in the modeling business. Having successfully shot with great photographers like Carlos Reynosa, Cliff Watts and Matthew Rolston allowed me the access to American & European commercial and modeling market. I was then booking great commercial & print accounts like Toyota, Wilson Leather and Anson's Germany.  Small spots in Television, Film and Voice soon followed. Auditioning and not landing roles with Disney / Jungle Book and Mel Gibson / Apacolypto were a just a few inspirations that kept me going till landing a small scene in the blockbuster movie TWILIGHT as Native #1 Jacob Black's great great grandfather, EPHRAIM BLACK, leader of the original Werewolf Tribe. Life has not been the same since.I have completed production on Yellow Rock with Michael Biehn, James Russo and the Spears Brothers. Yellow Rock has received 18 film awards and has acquired worldwide distribution for 2013. The Dead and the Damned has been very well received with world wide distribution, placement in Red Box as well as the national chains. Just wrapped fom “Little Boy” starring Sean Astin.

AJN editor-in-chief Shawn Kennedy talks with the author about the scant research available and suggests ways to open discussions around this sensitive issue.

Art Camacho's gritty story of redemption Half Past Dead 2, which stars professional wrestler Bill Goldberg and rapper Kurupt, hit stores last Tuesday. He joins us on this edition of the Your Video Store Shelf Podcast to talk about an assortment of topics. Like so many guests on this show, Camacho's journey into the world of filmmaking was not a typical one. Camacho began to learn martial arts as a teenager as a way of defending himself against the gangs of South East Los Angeles. He continued training into his adult years. Like so many accomplished martial artists in 1990's Los Angeles, Camacho was eventually asked to get the crap kicked out of him on film. He quickly learned the tricks of the trade of stunt work, and his workload increased. Soon enough he found himself being asked by PM Entertainment to not just do stunts, but choreograph the fight scenes in many of their movies. He has choreographed well over a hundred action scenes since then, and it was thanks to his success in that field that he found his way into directing. Half Past Dead 2 is Camacho's 14th film, with his earlier efforts including Gary Daniels' Recoil, Gangland, Sci-Fighter, and Point Doom. Topics include how he got attached to Half Past Dead 2, working with Andrew Stevens, the rhythm involved with fake fighting, his experience being PM Entertainment's fight choreographer, assembling almost a thousand extras in less than ten hours, the simple story of how he got into directing, his nervousness on his first day, his friendship with Don 'The Dragon' Wilson, bad kickboxing movies, blowing up cars, weak scripts, how long it takes him to appreciate his movies, how Andrew Dice Clay and Richard Grieco saved Point Doom, the eagerness of Angie Everhart, how great James Russo is, his very dangerous original plans for Confessions of a Pit Fighter, how he almost broke a gang truce, why we haven't seen that film, working with Flava Flav, getting his beat up in both Half Past Deads, and to close the show off, Art leaves me speechless. Fine show people. Get to listening!

Hour 1 - We are joined tonight by the always hilarious Craig Shoemaker aka The Lovemaster, who is coaching Cheesesteak King Tony Luke Jr, in the art of Stand-Up Comedy and they brought friends! Actor Grant Shaud, better known as Miles Silverberg from the Murphy Brown Series and actor, writer and director James Russo of Donnie Brasco & Extremities fame. It's a full house of craziness.Support this podcast at — https://redcircle.com/tony-bruno-show/donations

Hour 2 - We continue with the Fab 4, Craig Shoemaker, Grant Shaud, James Russo and Tony Luke. Tony brakes down some of the past dreck that was drafted at the QB position in the last 20 years. We have possibly the greatest NFL call of all time and ask can you say "Orgasm" in French? PLUS, we have a HUGE TonyBrunoShow announcement just before the end of the show. Support this podcast at — https://redcircle.com/tony-bruno-show/donations