Podcast appearances and mentions of Jessica Harper

This week's episode was recorded in front of a live audience on Feb. 7th, 2025, at Cinema 21 in Portland, Oregon. Beloved composer, musician, and iconic actor PAUL WILLIAMS joined us to discuss the film we screened that night, PHANTOM OF THE PARADISE, as well as his impressive and long career in film and music. Paul talks about his experiences working with director Brian De Palma, juggling acting and composing songs for fellow actors William Finley, Gerrit Graham, and Jessica Harper, his stylistic influences for writing the soundtrack, the joy in playing a bastard like Swan and even how Phantom eventually found an audience with the help of some dedicated Winnipeggers. He also shares fascinating stories about his prolific work output, including composing for Jim Henson, how Burt Reynolds got the idea to put him in Smokey & The Bandit, writing songs for the Carpenters, Barbara Streisand & Ishtar, meeting songwriting deadlines while touring with Liza Minelli, how it felt when Phantom superfans Daft Punk reached out to him to collaborate on their music, and so much more.And as if that wasn't enough, there's also a live performance from Paul's latest collaborators, PORTUGAL. THE MAN, which includes a lovely Phantom Of The Paradise tip of the hat.Thanks again to all who donated their time and energy to make this beautiful event happen! Enjoy!PAUL WILLIAMS:https://www.paulwilliamsofficial.com/PORTUGAL. THE MAN:https://portugaltheman.com/FRANCES CHANGED MY LIFE:https://www.franceschangedmylife.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com  Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Quatro protagonistas femininas de filmes de Dario Argento serão o destaque desse episódio. Daria Nicolodi no papel da Jornalista Gianna Brezzi em Preludio Para Matar de 1975, Jessica Harper no papel da Bailarina Suzy Bannion em Suspiria de 1977, Jennifer Connelly no papel da Estudante Jennifer Corvino em Phenomena de 1985 e Cristina Marsillach no papel da Soprano Betty em Terror na Ópera de 1987.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.instagram.com/mondogiallopodcast/⁠⁠https://www.youtube.com/@mondogiallopodcast⁠FormigaCast  - https://open.spotify.com/show/0DTLIkS03IeqEMT7LmGI3nAPOIA.se:https://apoia.se/formigaeletrica

New episode just arrived with Jessica and Jeremy. Recorded March 2025.LISTEN NOW: https://podcasters.spotify.com/pod/show/beltoWe answered your questions! You can submit new ones always here: https://soyouthinkyoucanbelto.weebly.com/qa.html--Hosted by Jessica Harper (soprano) & Jeremy Boulton (baritone), 'So You Think You Can Belto?' was created to empower emerging operatic practitioners across Australia and the world with access to the direct knowledge and relayed experiences of professionals.It aims to help inform emerging artists by holding a mirror to the opera system so that artists can make their own individually-informed decisions about auditions, competitions, engagements, and more. You'll hear everything from in-depth artist interviews, to long form panel discussions on topics concerning emerging artists.soyouthinkyoucanbelto@gmail.comBUY JESS A COFFEE: https://www.paypal.com/ncp/payment/32TKWJ6EQ7G8NX: ⁠⁠⁠⁠twitter.com/sytycanbelto⁠⁠⁠⁠FACEBOOK: ⁠⁠⁠⁠facebook.com/soyouthinkyoucanbelto⁠⁠⁠⁠ INSTAGRAM: ⁠⁠⁠⁠instagram.com/soyouthinkyoucanbelto⁠⁠⁠⁠HASHTAG: #SoYouThinkYouCanBeltoJESSICA: ⁠⁠⁠⁠www.jessicaharpersoprano.com⁠⁠⁠⁠JEREMY: www.⁠⁠⁠⁠jeremyboulton.com.au⁠⁠⁠⁠DISCLAIMER: The views and opinions expressed are solely those of the individuals that appear on the program, not the views of the organisations that they are employed by, nor who they represent in other capacities. #soyouthinkyoucanbelto #podcast #SoYouThinkYouCanBelto #classicalmusic #australianpodcast #holdingthemirror #operations #soyouthinkyoucanbel #podcast #SoYouThinkYouCanBelto #classicalmusic #australianpodcast #holdingthemirror #oper #soyouthinkyoucanbelto #podcast #SoYouThinkYouCanBelto #classicalmusic #australianpodcast #holdingthemirror #oper#soyouthinkyoucanbelto

In this episode, Cameron is joined by Ken and Jessica Harper, owners of Drippy Nurse Jess Med Boutique, and they discuss their journey from nursing to entrepreneurship, the importance of business-focused conferences, and the dynamics of their partnership in running a successful MedSpa. They highlight the significance of strategic growth, avoiding common pitfalls, and building a tech stack through networking and industry connections.Cameron, Ken and Jessica talk about the increasing importance of data in the aesthetics industry, emphasizing the need for quality leads and understanding market dynamics. They also delve into the significance of mindset and motivation in business, sharing personal routines and the impact of mentorship. They also emphasize the necessity of investing in technology and training to enhance business operations and patient experiencesListen In!Thank you for listening to this episode of Medical Millionaire!TakeawaysThe transition from nursing to aesthetics can be life-changing.Business-focused conferences are essential for growth and learning.Having a partner can help balance the demands of running a practice.Scaling a business requires strategic hiring and planning.Networking at conferences can lead to valuable industry connections.Avoiding debt is crucial for sustainable growth in the aesthetics industry.Designing a med spa involves learning from others and industry trends.It's important to stay in your lane and grow at your own pace.Building a tech stack is vital for modern practice management.Success in aesthetics requires patience and a long-term vision. There's a lot more data coming into the industry.Understanding your market is crucial for customer acquisition.Good quality leads are essential for business success.Mindset and motivation play a significant role in business ownership.Investing in mentorship can accelerate personal and professional growth.You have to invest in yourself to see returns.Simplicity in technology stacks can enhance operational efficiency.Pay attention to your margins to ensure profitability.Surrounding yourself with like-minded individuals fosters growth.What problem does your technology solve for your business?Unlock the Secrets to Success in Medical Aesthetics & Wellness with "Medical Millionaire"Welcome to "Medical Millionaire," the essential podcast for owners and entrepreneurs inMedspas, Plastic Surgery, Dermatology, Cosmetic Dental, and Elective Wellness Practices! Dive deep into marketing strategies, scaling your medical practice, attracting high-end clients, and staying ahead with the latest industry trends. Our episodes are packed with insights from industry leaders to boost revenue, enhance patient satisfaction, and master marketing techniques.Our Host, Cameron Hemphill, has been in Aesthetics for over 10 years and has supported over 1,000 Practices, including 2,300 providers. He has worked with some of the industry's most well-recognized brands, practice owners, and key opinion leaders.Tune in every week to transform your practice into a thriving, profitable venture with expert guidance on the following categories...-Marketing-CRM-Patient Bookings-Industry Trends Backed By Data-EMR's-Finance-Sales-Mindset-Workflow Automation-Technology-Tech Stack-Patient RetentionLearn how to take your Medical Aesthetics Practice from the following stages....-Startup-Growth-Optimize-Exit Inquire Here:http://get.growth99.com/mm/

Does the title of this movie grab your attention? It did for us! We went in knowing nothing about this movie other than it starred Amy Adams. The movie is based on a 2021 novel by Rachel Yoder and directed by Marielle Heller, who also directed Can You Ever Forgive Me? (2018), and A Beautiful Day in the Neighborhood (2019). Amy Adams is the star, and she is supported by Scoot McNairy, Arleigh Snowden, Emmett Snowden, Mary Holland, Ella Thomas, Archana Rajan, and Jessica Harper. It was in theaters for a minute, where we caught it on the big screen. You can now watch it on Hulu. But maybe listen to our review before you do so!

This week our hosts Josh and Jade review the film Nightbitch on Hulu. The comedy horror film written and directed by Marielle Heller is based on the 2021 novel by Rachel Yoder. The film stars Amy Adams, Scoot McNairy, Arleigh Snowden, Emmett Snowden, Mary Holland, Ella Thomas, Archana Rajan, and Jessica Harper. Also, inside this episode Josh and Jade discuss Variety's Worst TV Shows of 2024 and ask: "Who is Robbie Williams?" Spoiler - they still don't know. Click play and enjoy.

This week we welcome power couple and dynamic duo, Jessica Harper, RN and Ken Harper, the innovative forces behind DrippyNurseJess Med Boutique in Gilroy, California. Their remarkable journey from pandemic-induced burnout to med spa success is a testament to how authenticity, a strategic vision, and unwavering partnership can transform a desire for change into a thriving aesthetic practice. At the height of the pandemic, Jessica found herself at a crossroads. As the Plastic Surgery Services Lead at Kaiser in Silicon Valley—ground zero for early COVID-19 cases—burnout led her to explore alternative paths in healthcare. What began as a venture into mobile IV therapy quickly evolved into something much bigger, thanks to the entrepreneurial vision she shared with her husband Ken, a seasoned digital marketing expert. Together, they have gone all in on their shared goal to create a thriving business and lasting legacy in Gilroy. Ken flexed his marketing muscle early on with the brand DrippyNurseJess, a bold departure and memorable moniker for her new IV practice! Ken's brand-building expertise shaped this distinctive identity with intention: "We're not going to sell IV therapy," he explained. "We're going to sell your story and build a brand." And as she's branched into injectables, Jessica's DNJ brand is thriving! Jessica's own experiences with dramatic weight loss and self-proclaimed imposter syndrome fuel her mission to create an environment that is accessible to all and a place that every client can feel like they belong. Several fundamental principles drive their growing practice: Authentic Patient Connections: Drawing from Jessica's surgical background to create meaningful relationships Strategic Industry Presence: Regular conference attendance and relationship building with key opinion leaders Team Synergy: Clear role division between clinical expertise and business strategy Inclusive Environment: Creating a welcoming space for all clients, regardless of experience with aesthetics Forward-Thinking Approach: Staying ahead of industry regulations and changes including Jessica's pursuit of her BSN to NP! The Harper's also shared several practical insights for aspiring med spa owners who are trying to build their clinical expertise while also building their business: Invest time in building genuine industry relationships. You will need them as you continue on your journey. Maintain authenticity in both branding and patient care. Balance clinical excellence with sound business practices - find a partner who can help if you don't have both skills. Create an environment where clients feel welcome & deliver great results. If you do, word of mouth will grow your practice by leaps and bounds! The Harpers exemplify how combining clinical expertise with marketing savvy creates a formula for success. Their story reminds us that with the right partner, you can take on the world and win! Connect with Jessica, Ken & DrippyNurseJess Jessica: @drippynursejess Ken: @kenharpersocialmedia Website: drippynursejess.com

For this week's main podcast review, I am joined by Ema Sasic, Josh Parham, Nadia Dalimonte, Daniel Howat & Tom O'Brien to review and discuss the latest film from Marielle Heller, "Nightbitch," starring Amy Adams, Scoot McNairy, Arleigh Patrick Snowdon, Emmett James Snowdon, Zoë Chao, Mary Holland, Archana Rajan & Jessica Harper. The film received solid reviews after its premiere at the 2024 Toronto International Film Festival but has gone on to receive a more mixed reception as more people have seen it. What did we think of it? Tune in as we discuss its theme of motherhood, Amy Adams's committed performance, the writing and direction from Marielle Heller, its awards season chances, and more in our SPOILER-FILLED review. Thank you for listening, and enjoy! Check out more on NextBestPicture.com Please subscribe on... Apple Podcasts - https://itunes.apple.com/us/podcast/negs-best-film-podcast/id1087678387?mt=2 Spotify - https://open.spotify.com/show/7IMIzpYehTqeUa1d9EC4jT YouTube - https://www.youtube.com/channel/UCWA7KiotcWmHiYYy6wJqwOw And be sure to help support us on Patreon for as little as $1 a month at https://www.patreon.com/NextBestPicture and listen to this podcast ad-free Learn more about your ad choices. Visit megaphone.fm/adchoices

Happy Halloween! Drusilla and Josh are doing their annual High Brow/Low Brow double feature! On the high brow side, its Bones and All (2022). And on the low brow side, it's Nothing But Trouble (1991). From wiki: “Bones and All is a 2022 romantic horror film directed by Luca Guadagnino from a screenplay by David Kajganich, based on the 2015 novel Bones & All by Camille DeAngelis. Set in the late 1980s, the film stars Taylor Russell and Timothée Chalamet as a pair of young cannibals who develop feelings for each other on a road trip across the United States. Michael Stuhlbarg, André Holland, Chloë Sevigny, David Gordon Green, Jessica Harper, Jake Horowitz, and Mark Rylance appear in supporting roles.”Nothing but Trouble is a 1991 American comedy horror[3] film written and directed by Dan Aykroyd in his directorial debut, based on a story by his brother Peter, and starring Chevy Chase, Dan Aykroyd (in a dual role), John Candy (in a dual role), and Demi Moore. It tells the story of two yuppies and the clients of one of them who are taken to court for running a stop sign in the bizarre, financially bankrupt small town of Valkenvania, which is dominated by a 106-year-old judge. Tupac Shakur made his acting debut as a member of the rap group Digital Underground.NEXT WEEK: Maniac (2012)Follow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

“Susie... Sarah... I once read that names which begin with the letter 'S' are the names of SNAKES! Sssss! Ssssss!” We watched “Suspiria” (1977) with our friend Devin Lotfi (I Don't Want to Hear That Podcast) and we're taking a trip down the witches road (no, not that one).  You can't get any more niche than 1970's Italian horror, but our man Dario Argentina is the master and “Suspiria” is the icon of the genre. Argento's stylized use of primary colors gives the movie an expressionistic vibe and makes it stand out from the usually dark tone of more mainstream horror films.  The neon palette used here is almost a trope in modern art house horror but in 1977 this was revolutionary. Jessica Harper is our ethereal American student amongst the fierce European witches that run the mysterious dance academy. We've also got a blind piano teacher, a lumbering, mute manservant and some male dance students with ambiguous intentions rounding out the spooky tone.  We defy you to assign the significance of the bright reds, blues and greens that are cast over the scenes. The story may seem at times illogical or confusing but it all comes together in the final - extremely scary - moments. The only more terrifying about the last twelve minutes of this podcast, are the first eighty nine!  Thanks for listening and don't forget to subscribe, rate and review us on Apple Podcasts! www.patreon.com/moviesthatmadeusgay Facebook/Instagram: @moviesthatmadeusgay Twitter: @MTMUGPod Scott Youngbauer: Twitter @oscarscott / Instagram @scottyoungballer Peter Lozano: Twitter/Instagram @peterlasagna

Kicking off our MASKED UP triple feature, we're seeking bloody revenge on creative exploitation and musical sanitation as we look to the neon theater rafters to meet the tragic antihero in Brian De Palma's PHANTOM OF THE PARADISE, starring William Finley, Paul Williams, Jessica Harper, Gerrit Graham, and George Memmoli. Make sure to subscribe on Apple Podcasts, Spotify, or anywhere you get your podcasts.Want to support the show and save 20% on Fangoria? Visit shop.fangoria.com/howimetyourmonster and enter PROMO CODE: HOWIMETYOURMONSTER at checkout!Looking for How I Met Your Monster merch? Check out TeePublic https://bit.ly/howimetyourmonstermerchQuestions and comments: howimetyourmonsterpodcast@gmail.com

Today's episode is with Fleur Snow, Director and co-host, Jeremy Boulton. Fleur Snow is a stage director and musician from West Wales. For the 2023-2024 season, she is resident staff director in St Gallen, Switzerland, and she will take up her next position in the Staatstheater am Gärtnerplatz, Munich from September 2024. She is an organist and speaks English, Welsh, French, Italian, and German. As a director, recent projects have focused on contemporary opera and historical gesture. These include adaptations of Oscar Wilde's The Duchess of Padua (The Space, London), Jamila Gavin's Coram Boy (Atmospheres, RWCMD) and Dido and Aeneas (RWCMD). Other credits include Julia Plaut's new opera for children, The Y Knot (The Croft, Cardiff); a digital adaptation of Julius Caesar; Ristorante Don Alfonso; Postgraduate Scenes (RWCMD); and Under Milk Wood at Brasenose College. Fleur works in the UK and internationally as an assistant director. This year at St Gallen, Fleur was assistant director for Les Misérables (Josef Köpplinger), Ernani (Barbora Horáková) and Lili Elbe (Krystian Lada). Further afield, Fleur assisted on Evgenij Onegin (Julien Chavaz) at Teatro Massimo, Palermo; Gianni Schicchi (Damon Nestor Ploumis) at Alden-Biesen, Belgium; and the Swedish première of Du Är Min Nu (Gérard Watkins) in the Göteborgs Stadsteater as a 2023 European Theatre Convention Scholar. At home in the UK, she has worked with Welsh National Opera on Migrations (Sir David Pountney), Opera Holland Park for La Bohème (Natascha Metherell), and West Green House Opera for L'Elisir d'Amore (Victoria Newlyn). https://fleursnow.co.uk/ -- Hosted by Jessica Harper (soprano) & Jeremy Boulton (baritone), 'So You Think You Can Belto?' was created to empower emerging operatic practitioners across Australia and the world with access to the direct knowledge and relayed experiences of professionals. It aims to help inform emerging artists by holding a mirror to the opera system so that artists can make their own individually-informed decisions about auditions, competitions, engagements, and more. You'll hear everything from in-depth artist interviews, to long form panel discussions on topics concerning emerging artists. BUY JESSICA A COFFEE: ⁠⁠https://www.paypal.com/ncp/payment/32TKWJ6EQ7G8N⁠⁠ TWITTER: ⁠⁠⁠⁠⁠⁠⁠⁠twitter.com/sytycanbelto⁠⁠⁠⁠⁠⁠⁠⁠ FACEBOOK: ⁠⁠⁠⁠⁠⁠⁠⁠facebook.com/soyouthinkyoucanbelto⁠⁠⁠⁠⁠⁠⁠⁠ INSTAGRAM: ⁠⁠⁠⁠⁠⁠⁠⁠instagram.com/soyouthinkyoucanbelto⁠⁠⁠⁠⁠⁠⁠⁠ HASHTAG: #SoYouThinkYouCanBelto JESSICA: ⁠⁠⁠⁠⁠⁠⁠⁠jessicaharpersoprano.com⁠⁠⁠⁠⁠⁠⁠⁠ JEREMY : ⁠⁠⁠⁠⁠⁠⁠⁠jeremyboulton.com.au⁠⁠⁠⁠⁠⁠⁠⁠ DISCLAIMER: The views and opinions expressed are solely those of the individuals that appear on the program, not the views of the organisations that they are employed by, nor who they represent in other capacities.

Today's episode is with Sharon Kempton. Australian born soprano Sharon Kempton, completed a Bachelor of Music Performance and Music Therapy with honours and Master of Music Performance at the University of Melbourne, under the tuition of Kevin Casey, Bettine MacCaughan OAM and the distinguished Merlyn Quaife OAM. Sharon has been the recipient of many prestigious prizes including the German Operatic Award (2001), embarking on her European career, as a member of the Cologne Opera Studio, Germany, followed by an eleven year engagement as soloist at the Hessen State Theater in Wiesbaden. Sharon has performed with Aalto Musiktheater Essen, Köln Oper, Staatstheater Wiesbaden, Staatstheater Braunschweig, Staatstheater Kassel, Theater Ulm, Nationaltheater Mannheim, Theater Osnabrück and Saarländisches Staatstheater, in Saarbrücken. As an ensemble member of Staatstheater Wiesbaden from 2003 until 2014, Sharon performed and debuted forty operatic roles. Her extensive repertoire encompasses the genres of early Baroque Opera, performing roles such as Giunone (LaCallisto), Poppea (L'incoronazione di Poppea), Euridice (Orfeo ed Euridice), Elmira (Croesus), Armide (Armide) and Cleopatra (Julius Caesar) – for which she was nominated 'Singer of the Year' in 2007 by Opernwelt, Germany; through to Classical, Romantic and works of the modern Masters. Read more bio: https://sharonkempton.de/bio https://sharonkempton.de/ (Homepage) https://sharonkempton-coach.com/ (Coaching) -- Hosted by Jessica Harper (soprano) & Jeremy Boulton (baritone), 'So You Think You Can Belto?' was created to empower emerging operatic practitioners across Australia and the world with access to the direct knowledge and relayed experiences of professionals. It aims to help inform emerging artists by holding a mirror to the opera system so that artists can make their own individually-informed decisions about auditions, competitions, engagements, and more. You'll hear everything from in-depth artist interviews, to long form panel discussions on topics concerning emerging artists. BUY JESSICA A COFFEE: ⁠https://www.paypal.com/ncp/payment/32TKWJ6EQ7G8N⁠ TWITTER: ⁠⁠⁠⁠⁠⁠⁠twitter.com/sytycanbelto⁠⁠⁠⁠⁠⁠⁠ FACEBOOK: ⁠⁠⁠⁠⁠⁠⁠facebook.com/soyouthinkyoucanbelto⁠⁠⁠⁠⁠⁠⁠ INSTAGRAM: ⁠⁠⁠⁠⁠⁠⁠instagram.com/soyouthinkyoucanbelto⁠⁠⁠⁠⁠⁠⁠ HASHTAG: #SoYouThinkYouCanBelto JESSICA: ⁠⁠⁠⁠⁠⁠⁠jessicaharpersoprano.com⁠⁠⁠⁠⁠⁠⁠ JEREMY : ⁠⁠⁠⁠⁠⁠⁠jeremyboulton.com.au⁠⁠⁠⁠⁠⁠⁠ DISCLAIMER: The views and opinions expressed are solely those of the individuals that appear on the program, not the views of the organisations that they are employed by, nor who they represent in other capacities.

This week, we talked to Grammy Nominated Visual Artist & Musician Perry Shall & Fangoria Magazine's Editor In Chief Phil Nobile Jr about arguably their favorite film of all time, Phantom Of The Paradise!!! We discuss the film's incredible songs and performance by Paul Williams, Brian DePalma's homages and obsessions within the film, the ties (and lawsuit) associated with this film and Led Zeppelin, the 70s obsession with the 50s, our love for the character BEEF, our childhood discovery of this film, the iconic visual identity of the film, which came first Kiss or the movie, one fan's obsession with restoring the film to its original state, bootlegging cable, the power of the indie video horror movie shelf, Jessica Harper's iconic performance, the mask design of the Phantom and the Japanese Manga movement around it, slumber party watch parties, being scared of rock concerts and their potential violence, style vs substance, who is the mysterious billed ‘rock freak' & how one lone city in the world has never stopped loving this film.So let's discuss the man who made it, the girl who sang it and the monster who stole it on this week's episode of Revolutions Per Movie!!!Perry Shall: https://www.perryshall.com/Phil Nobile Jr: https://www.fangoria.com/authors/phil-nobile-jr/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support the show is through our Patreon at patreon.com/revolutionspermovie, where you can get weekly bonus episodes and exclusive goods sent to you just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

Welcome back to the Horror. Cult. Trash. Other. Podcast! This week, we're starting off Musicals Month with a discussion about Brian De Palma's camp horror musical, Phantom of the Paradise, which features a very well written script that satires the music industry in the early 70s, stunning set and costume designs, and the Crabby Cook herself, Jessica Harper slaying as per usual. Alongside our main film discussion, we also discuss what we've been watching recently including A Quiet Place: Day One and Infested. Email us at horror.cult.trash.other@gmail.com and check us out on Social Media at the following links www.facebook.com/horrorculttrashother Twitter - @horrorculttrash Instagram - @horror.cult.trash.other Theme song is Stick Around by Gary's old band, One Week Stand. Check them out on Spotify, iTunes and many other digital distributors!

Guests: Jessica Harper, Bea Franklin Actor, author, and singer-songwriter Jessica Harper talks about her work on films, including Suspiria, My Favorite Year, Pennies from Heaven, and Minority Report, television roles on It's Garry Shandling's Show and The Old Man, and creating books and music for children. The “Queen Bea”, Bea Franklin, returns to talk about her remarkable life and her upcoming 100th birthday.          

A sheet-music salesman's life spirals out of control during the Great Depression, but that doesn't stop him from daydreaming about a better life through song. A film noir plot dressed up as a big, Busby Berkeley-style musical comedy, this remake of a British tv series was a massive box-office bomb, but has become a cult favorite. Starring Steve Martin, Bernadette Peters, Jessica Harper, and Christopher Walken. Written by Dennis Potter. Directed by Herbert Ross.

Bones and All - "Lick it Up"This week we devour a fresh film from Luca Guadagnino - BONES AND ALL (2022). A coming of age story about a young "eater" discovering she is not alone. A sprawling road trip and powerhouse performances from cinema veterans like Jessica Harper, Mark Rylance, Chloë Sevigny and Michael Stuhlbarg paired with the new class of Timothée Chalamet and Taylor Russell - creating a sumptuous cinematic feast!We hope you enjoy devouring this whole new episode!Support the Show.

Sighs, Darkness, and Tears. Three sorrows for three lovely ladies. Join us this week as we peel apart Dario Argento's storied trilogy.Music and sound effects provided by zapslat.com and bensound.com, and the theme song is "Graveyard Shift" by Kevin MacLeod. https://creativecommons.org/licenses/by/4.0/ 

Suzy Bannion travels to Germany to attend a ballet school but as soon as she arrives, things seem wrong. She falls ill and begins hearing strange and unusual noises as some of the students wind up murdered or disappearing. Slowly, Suzy comes to the realization that there might be much more to this school and it's teachers than it seems.TimecodesBirthday Birthday Birthday: 0:00Horror Hour: 7:42   Jeff Brings Something: 7:55   Until Dawn Movie Adaptation: 9:03   Basket Case Gets a 4K Release: 13:39   Godzilla Minus One Minus Color: 15:22Suspiria Discussion: 16:33Suspiria Final Thoughts: 1:02:52Reimagining and Sequels: 1:12:51Ratings: 1:19:41Tops & Bottoms: 1:21:56LINKS:Instagram / TikTokJoin the Patreon!Shop MerchUgly CowboyCall the Hot Take Hotline:916-538-4412

Synopsis Suspiria (1977) (not to be confused with Suspiria 2018) is a movie about a young American woman named Suzie who relocates to Germany to join a prestigious dance academy. As Suzie begins to adjust to her new life, she stumbles into a world of conspiracy that seems to surround her school and the dance instructors. People start to go missing while Suzie and her friend Sara attempt to put the pieces together. When the school's staff start to show their true colors, Suzie must investigate the history of the academy before whoever is murdering the dancers makes her the next target. In the end, they all get more Suspiria than they bargained for.  Review of Suspiria (1977) Suspiria is directed by Dario Argento and stars Jessica Harper as Suzie. The movie, now considered a horror classic, uses unconventional lighting and color, which gives the movie a unique feeling and adds to the suspenseful atmosphere. The dialogue is kind of goofy at times, but to me, that is part of the charm. My problem with Suspiria is that with a run time of only an hour and 40 minutes, it somehow feels like a 2 hour + movie. The scenes drag on, probably to linger on the beautifully designed shots, and the plot is minimal compared to the 2018 remake, which expands on and adds ideas to the original. However, I say all of that just for the sake of being critical. I actually really enjoy this movie.  Score 8/10

This week on Remainders, we watch the 1974 horror-comedy rock opera Phantom of the Paradise. A cult classic by Brian De Palma, Phantom has gained notoriety in the decades since its release thanks in part to De Palma's legendary filmography, but also because of a small but rabid fan base that hails to this insane mashup of horror and glam rock.Other topics include Killers of the Flower Moon, Chicago legends Siskel & Ebert and Tom Skilling, January movie marathons, Godzilla Minus One and the Oscars, new Criterion pickups and the lost art of movie posters.Songs of the WeekGoodbye Eddie, Goodbye by The Juicy FruitsDilemma by Green DayDon't Toss Us Away by Lone JusticeRemainders Jukebox PlaylistWebsiteFacebookInstagramYouTubeTwitter

For this "Quick Screen" episode, Michael checked out the brand new theatrical film "Memory". What are some of his thoughts on this dramatic film starring Jessica Chastain, Peter Sarsgaard, Merritt Wever, Brooke Timber, Elsie Fisher, Josh Charles and Jessica Harper? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Follow the show on Instagram and Threads just search screennerdspodcast Check out the show on Bluesky just search screennerdspodcast Be sure to check out the podcast on Apple Podcasts, Spotify, Goodpods, Overcast, Amazon Music or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://podcasters.spotify.com/pod/show/screennerdspodcast/message

Craig and special guest co-host Jake Shears welcome Jessica Harper to talk Crabby Cooking, naked rooftop dancing, Weapons Of Ass Destruction, Jessica's fabulous podcast “Winnetka”, Bette Midler, the magic of Paul Williams, being a mom, “Phantom Of The Paradise”, spanking situations, Dario Argento, “Stardust Memories”, bakin' til it bubbles, being in “Suspiria” twice,, Brian De Palma, WASPland, “Shock Treatment”, working across the hall from New York Dolls, bad trips, full-circle moments and more! Get lots of hott bonus content by going to ⁠https://www.patreon.com/CraigAndFriends⁠ Snatch up ad-free & early versions of these episodes, bonus episodes, Movie Club episodes and more while supporting the show. Jessica Harper ⁠https://jessicaharper.com⁠ ⁠http://www.winnetkapodcast.com⁠ ⁠https://www.instagram.com/jessicaharperama⁠ Jake Shears ⁠https://www.instagram.com/jakeshears⁠ Craig ⁠https://www.instagram.com/craigandfriendspod⁠ ⁠https://www.instagram.com/videodromedisco⁠ ⁠https://twitter.com/craigandfriends⁠ ⁠https://linktr.ee/CraigAndFriends

Should we have saved Suspiria (1977) for pride month? Rumor on the street is that this is a low-key lesbian film... which actually makes a lot of sense when you consider that, in a way, maybe all witch movies are. But while it doesn't actually include any footage of women kissing, Dario Argento's masterpiece is still a visual delight. Just peep all the incredible architecture and fashion! That's not to say that this flick is all (technicolor) flash, no substance. There's a lot to unpack here, which is why we asked Vannah Taylor — writer, ballerina, and fellow horror podcaster — to join us as we break down everything from the classic fairytale references to the pop culture impact. Follow Vannah Taylor on Instagram, Twitter, and TikTok at @sirendeathcult. Follow The Carnal Extremities Podcast on Twitter. Check out their new episodes weekly on Apple and Spotify.https://www.theringer.com/movies/2018/10/5/17939894/suspiria-dario-argento-luca-guadagninohttps://www.nytimes.com/2018/10/26/movies/suspiria-remake-tilda-swinton-dakota-johnson.htmlhttps://www.wired.com/story/suspiria-movie-review/https://www.mentalfloss.com/article/503550/14-unforgettable-facts-about-%E2%80%98suspiria%E2%80%99

We may be a week late on this upload, but we're still keeping it spooky as we talk about the 1977 Italian horror film Suspiria. We talk color palette, fairy tales, score, symbolism, 4k blu-ray, and much, much more as we talk about this horror classic. This film is a tour de force of style and it was a blast to dissect it and break down our thoughts. What do you think about this classic? Come back next week for an episode on another classic - The Exorcist! Contact us at rollitpodcast@gmail.com or follow us!    Twitter/X - @RollItPodcast    Instagram - @rollitpodcast    Music by Ethan Rapp

An American woman enrolls at a prestigious dance academy in Berlin run by a coven of witches.  Directed by Luca Guadagnino. Screenplay by David Kajganich. Based on the 1977 film of the same name by Dario Argento and Daria Nicolodi. Starring Dakota Johnson, Tilda Swinton, Mia Goth, Jessica Harper and Chloë Grace Moretz. FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! E-mail address: greatestpod@gmail.com Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Bones and All (Amazon Prime) Let Me In (Max)

Hang on to your dance belts...This week, Cody and Matt enlist at a dance academy of the occult (or AH-cult, depending on who you ask.) They discuss the striking style of Dario Argento, the fabulous Jessica Harper, and the malicious magic of Mother Markos. They also conjure up questions about hairy arms that break through windows, 70's hairstyles and their effects on chlorinated water, and what exactly a witch is to do if she loses her invisible boss. You'll be saying Giall-Oh Brother by the time these two learn how to pirouette.Thanks for listening!Instagram/Twitter: @nighthowlspod

This week, the boys are rowdy as they debate Connecticut being spooky, debate their favorite Janets between Susan Sarandon and Jessica Harper (an unfair question to be honest), leaving time to review Blue Beetle, Metalocalypse: Army of the Doomstar, Swallowed (2022), The Meg 2: The Trench, Joe Lo Truglio's Outpost, Grizzly 2: Revenge, and the Pope's Exorcist.After all that, the boys trash their way into this week's topic, Punk Rock Horror! Discussing representation of punk in films, best examples, most cartoonish ones, their favorite Lee Ving roles, and why horror and punk rock go together like peanut butter and chocolate. ITS ALL NEW ON EYE ON HORROR!!https://linktr.ee/EyeOnHorror

Subscriber-only episodeCamp counselors Jackie and Greg sit around the fire for Brian De Palma's PHANTOM OF THE PARADISE from 1974. Topics of discussion include the many inspirations from Oscar Wilde to Hitchcock to German Expressionism, De Palma's giddy filmmaking, the tunes by Paul Williams, and an unfair comparison to the other midnight rock musical, THE ROCKY HORROR PICTURE SHOW. The monthly S'mores series is an offshoot from our main series, where Jackie and Greg explore films from the fringes of cinema, encompassing underground, experimental, cult, camp, genre, horror, and B-movies. S'mores episodes are unlocked by becoming either a Patron or Friend of the Show (see below). These episodes are released on the last Tuesday of each month.Check us out on Instagram: instagram.com/sceneandheardpodCheck us out at our official website: sceneandheardpod.comJoin our weekly film club: instagram.com/arroyofilmclubJP Instagram/Twitter: jacpostajGK Instagram: gkleinschmidtGraphic Design: Molly PintoMusic: Andrew CoxGet in touch at hello@sceneandheardpod.comSupport the show on Patreon: patreon.com/SceneandHeardPodorSubscribe just to get access to our bonus episodes: buzzsprout.com/1905508/subscribe

We're very excited to be joined by the actor, writer, podcaster and genuine pop star, Mike Fenton Stevens, who has chosen the 1982 comedy MY FAVORITE YEAR.END CREDITS - Presented by Robert Johnson and Chris Webb - Produced by Chris Webb - "Still Any Good?" logo designed by Graham Wood & Robert Johnson - Crap poster mock-ups by Chris Webb - Theme music ("The Slide Of Time") by The Sonic Jewels, used with kind permission  (c) 2023 Tiger Feet Productions  Find us: Twitter @stillanygoodpod Instagram stillanygoodpod Email stillanygood@gmail.comFind Mike:@fentonstevens@MyTCpodSupport the show

Mary joins Caitlin to cover Bones and All on episode 100 of Plug It Up! We look at themes regarding coming of age, motherhood, destiny, identity, sexuality, and morality, and we long for a pretty cannibal boyfriend of our own. Tangents for this episode include: Timothee Chalamet's jaw, M&Ms, pizza, ice cream, and sharks. We also got some great FMKs and questions with a "100" theme. Thank you all so much for going on this journey with me and for supporting the show. I love doing it, and I'm so glad to have your support. Thank you! Cheers to 100 more! 

This week, the Strangers talk about Uncle Buck, Dungeons and Dragons, and dive into Brian de Palma's directorial debut "Phantom of the Paradise"!"Phantom of the Paradise" is available to rent on Amazon Prime Video and Vudu!A gifted rock composer plots revenge after a devious record producer steals both his music and his girl.Follow all of our relevant links here: https://linktr.ee/satellite12

This week, we finish our three part episode on the 1980s distribution company Vestron Pictures. ----more---- The movies discussed on this week's episode are: The Adventures of a Gnome Named Gnorm (1990, Stan Winston) Big Man on Campus (1989, Jeremy Paul Kagan) Dream a Little Dream (1989, Marc Rocco) Earth Girls Are Easy (1989, Julien Temple) Far From Home (1989, Meiert Avis) Paperhouse (1989, Bernard Rose) Parents (1989, Bob Balaban) The Rainbow (1989, Ken Russell) Wonderland (1989, Philip Saville)   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.   At the end of the previous episode, Vestron Pictures was starting to experience the turbulence a number of independent distributors faced when they had a successful film too soon out of the gate, and the direction of the company seemingly changes to go chasing more waterfalls instead of sticking to the rivers and the lakes they were used to.   Welcome to Part Three of our miniseries.   As we enter 1989, Vestron is seriously in trouble. More money has gone out then has come back in. It seems that they needed one more hit to keep going for a while longer. But if you were to look at their release schedule for the year, which included a pickup from the recently bankrupt DeLaurentiis Entertainment Group, there wasn't really anything that felt like it could be a Dirty Dancing-like break out, except for maybe the pickup from the recently bankrupt DeLaurentiis Entertainment Group.    But we'll get there in a moment.   Their first film from 1989 is a certifiable cult film if there ever was one, but the problem with this label is that the film tagged as so was not a success upon its initial theatrical release. Bob Balaban, the beloved character actor who had been regularly seen on screen since his memorable debut in Midnight Cowboy twenty years earlier, would make his directorial debut with the black comedy horror film Parents.   Bryan Madorsky stars as Michael Laemle, a ten year old boy living in the California suburbs in the 1950s, who starts to suspect mom and dad, played by Mary Beth Hurt and Randy Quaid, might be cannibals. It's a strange but fun little movie, and even Ken Russell would compare it favorably over David Lynch's Blue Velvet during one contemporary interview, but sadly, it would take far more time for the film to find its audience than Vestron could afford.   Opening in 94 theatres on January 27th, the $3m Parents could not overcome a series of negative reviews from critics, and it would only gross $278k in its first three days. Vestron would not strike any additional prints of the film, and would cycle the ones they did have around the country for several months, but after four months, the film could only attract $870k in box office receipts. But it would become something of a cult hit on video later in the year.   In 1992, British filmmaker Bernard Rose would make his American directing debut with an all-time banger, Candyman. But he wouldn't gotten Candyman if it wasn't for his 1989 film Paperhouse, an inventive story about a young girl whose drawings seem to manifest into reality. British actor Ben Cross from Chariots of Fire and American actress Glenne Headly from Dirty Rotten Scoundrels plays the young girl's parents.   Outside of Gene Siskel, who would give the film a thumbs down on his movie review show with Roger Ebert despite acknowledging Rose's talent as a filmmaker and being fascinated by the first two-thirds of the movie, the critical consensus was extraordinary. But it appears Siskel may have never actually written a review of the film for the Chicago Tribune, as the film still has a 100% Fresh rating on Rotten Tomatoes. But the film would only earn $6,700 from its single screen playdate at the Carnegie Hall Cinemas when it opened on February 17th, and the film would get little support from Vestron after that. More single playdates in major cities that added up to a $241k box office tally after fourteen weeks in release.   Marc Rocco's Dream a Little Dream would be the third film in The Two Coreys Cinematic Universe. Corey Feldman plays a high school student who, through one of the strangest plot twists in the whole body switching genre, finds himself switching places with two time Academy Award-winner Jason Robards, playing a professor who is looking for immortality through entering a meditative alpha state. Meredith Salinger and Piper Laurie also find themselves switching bodies as well, while Corey Haim plays the goofball best friend with not a whole lot to do. The supporting cast also includes veteran character actors Harry Dean Stanton and Alex Rocco, the latter who agreed to do the film because it was directed by his son.   When the film opened on March 3rd, it would be Vestron's second widest release, opening on more than 1,000 theatres. But just like the previous year's License to Drive, the pairing of Corey Haim and Corey Feldman did not set the box office on fire, opening in fifth place with $2.57m in ticket sales, compared to the #1 film of the week, the Morgan Freeman drama Lean on Me, which would gross twice as much as Dream a Little Dream while playing in 125 fewer theatres. In its second week, the film would lose 56 theatres and 52% of its opening weekend audience, falling all the way to 13th place with a gross of only $1.25m. By week three, the movie would move to dollar houses, and trudge along for several more months, until it closed in the middle of summer with only $5.55m in the till.   In the late 1970s and early 1980s, writer/director Jeremy Paul Kagan had directed and occasionally written several big ticket movies, including the 1977 Henry Winkler drama Heroes, which also starred Sally Field and, in his first post-Star Wars movie, Harrison Ford, and the 1985 Meredith Salinger/John Cusack adventure film The Journey of Natty Gann. Which makes his Natty Gann follow up, Big Man on Campus, such a head scratcher.   A modern adaptation of The Hunchback of Notre Dame, Big Man on Campus was written by Allan Katz, who had been working in television for nearly twenty years writing for and producing shows like All in the Family, Sanford and Son, The Mary Tyler Moore Show and MASH. Katz would also star in the movie as the titular hunchback, even though he had never once acted on any of his shows. But at least he had a good cast supporting him, including Gerrit Graham, Melora Hardin, Jessica Harper, Tom Skerritt, and Cindy Williams.   I can only find one playdate for the film ever, in Los Angeles at the American Cinematheque in March 1989, so while this mostly qualifies as a direct to video release, I feel compelled to at least give it a token mention here.   Have you ever heard of a movie called The Fruit Machine? Of course you haven't, because that's a horrible name for a movie, no matter what it's about. When Vestron acquired this British drama about young gay men who go on the run after they witness a murder, the first thing they did was change the title to Wonderland. Not that Wonderland gives you any more of an idea of what the movie is about than The Fruit Machine. But, whatever.   Today, the movie has two things going for it. One, an early role for Robbie Coltrane, playing a transvestite who operates a nightclub for gay men and transvestites called, you guessed it, The Fruit Machine. Second, the musical score was written by Hans Zimmer, in one of his earliest film jobs. Ironically, Wonderland would be the the third movie scored by Hans Zimmer to be released by Vestron in a four month period, after Burning Secret and Paperhouse.   Wonderland would open at the Quad Cinemas in New York City on April 28th, to poor reviews but a decent $11,500 opening weekend. But the film would not be able to maintain much of an audience, and after five weeks, Wonderland was out of the Quad Cinemas, never to play another theatre in America, with just $50k in the till.   Ken Russell's third and final film in his contract with Vestron was The Rainbow, an adaptation of a 1915 novel by D.H. Lawrence, whose 1920 novel Women in Love had been adapted by Russell in 1969. Glenda Jackson, who had won the Academy Award for her role in Women in Love, here plays the mother of the character she played in the other film. Here, she co-stars with Sammi Davis as Ursala, the younger sister of Jackson's Women in Love character, who finds herself attracted to Anton, a young man in town, as well as her gym teacher Winifred.   As one would expect from Ken Russell, the supporting cast is top notch, including future Eighth Doctor Paul McGann, regular Russell collaborator Christopher Gable, and Blowup star David Hemmings. The film would open at the Paris Theatre in New York City on May 5th, where it would gross a very good $22k, spurred on by great reviews from most of the city's major critics, several of which noted the film to be Russell's best in a number of years. So it would be sad that the film would end up being the lowest grossing of the three films he'd make with Vestron, only earning a total of $444k after three months in mostly single playdates in major markets.   In 1985, Geena Davis and Jeff Goldblum would work together on a forgettable horror comedy film called Transylvania 6-5000, whose name was a pun on a popular 1940 song recorded by Glenn Miller. In 1986, the pair would work together again in David Cronenberg's amazing remake of the cheesy 1950s horror film The Fly. In late 1987, shortly after the pair married, they would work together for a third time, on another comedy, and on a movie that was this time based on an actual song.    Earth Girls Are Easy was the name of a song that appeared on comedian Julie Brown's 1984 EP Goddess in Progress, and was originally developed as a movie at Warner Brothers Studio. The studio would get cold feet when Absolute Beginners, the big British musical directed by music video director Julien Temple, failed big time everywhere in the world except for the UK. Temple was slated to direct Earth Girls Are Easy, and Brown, as the co-writer and co-star of the film, was committed to the filmmaker, even if it meant Warners putting the film into turnaround.   Which they did, in 1986.   It would take nearly a year to get the project back on track, after being rejected by every other major studio and production company in Hollywood, until the French banking giant Credit Lyonnais agree to finance the film, provided they could cut the budget from $14m to $10m, and if the filmmakers could make a distribution deal with the bank's preferred distributor, the then newly-formed DeLaurentiis Entertainment Group.   The film, about a manicurist in Los Angeles who helps three aliens blend into human culture after they accidentally crash land their spaceship into her pool, would begin production in Los Angeles in October 1987. Davis played the manicurist, and Goldblum one of the aliens, alongside Damon Wayans and Jim Carrey, while the remaining cast would include a number of great comedic actors like MASH's Larry Linville, Michael McKean, Rick Overton, and Charles Rocket, as well as Los Angeles media personality Angelyne as basically herself.   While the film was nearing completion in early 1988, the DeLaurentiis Entertainment Group would go out of business, leaving Credit Lyonnais in need of a new distributor for their investment. But after Temple turned in his first cut of the film, Credit Lyonnais would send Temple back into his editing bay, where he and his team would spend nearly another five months  winnowing out various scenes and completely excising a big and expensive musical number based on one of the other songs on Brown's 1984 EP, I Like ‘Em Big and Stupid, because it just didn't work for the film. Additional scenes would be shot, and the budget would end up being $11m.    The film would have its premiere at the Toronto Film Festival in September 1988, and attract attention from a number of distributors including MGM/UA, New World Pictures and Twentieth Century-Fox, but Vestron would end up putting in the winning bid.   The film would originally be set for a February 1989 release, but would get delayed until May 12th. When it finally opened on 317 screens in Boston, Chicago, Los Angeles, New York, Philly, San Francisco, Toronto and Washington DC, the film would gross $893k, putting in twelfth place for the weekend, but its per screen average would be the fourth best amongst the films in the top twenty. The film would fall one place in its second week,  losing 35% of its opening weekend audience, grossing $577k. The film would slowly hemorrhage theatres and box office until the plug was pulled in mid-July with only $3.9m in tickets sold.   The sole lasting legacy of the film is that Damon Wayans enjoyed working so much with Jim Carrey that when Damon's brother Kenan Ivory Wayans was putting together a new comedy television show together thanks to the success of his movie I'm Gonna Get You Sucka, Damon would get his brother to give Carrey a chance. In Living Color would make Carrey and the Wayans Brothers stars, and would change the course of comedy. So there's that…   In late June, the Lightning Pictures imprint would release their first movie in nearly two years, Far From Home. The film starred the then-fourteen year old Drew Barrymore as a young girl traveling cross country with her father, who get stuck in a small desert town in Nevada on their way to back to Los Angeles, who must deal with some very strange characters in the trailer park they're staying in, as they slowly discover nothing is as it's supposed to be. Matt Frewer, Max Headroom himself, plays the dad, who must protect his daughter while he figures out how to get the hell out of town alive.   Truth be told, the movie sucks, and it's really creepy in how it sexualizes Barrymore, but there's one hell of a great supporting cast doing their best to keep the joint from totally stinking the place up. Richard Masur, Academy Award nominee Susan Tyrell, Anthony Rapp from Adventures in Babysitting, Jennifer Tilly, and beloved character actor Dick Miller. When Vestron opened the film in four theatres in third-tier regions on June 30th, it was little surprise the film got some very bad notices, although one unnamed reviewer for Variety felt the need to note that Barrymore, who again was only fourteen at the time, had “a baby face, dreamy eyes and a playboy model's body.” The film would gross just $3,763 in its first and only weekend in theatres.   But that wasn't even the worst news of the week for Vestron.   On the same day as they opened Far From Home, Vestron had been informed by Security Pacific Bank in Los Angeles that the $100 million line of credit the company had with them was being terminated. 140 of the approximately 300 Vestron staff members, mostly from the Los Angeles office, were let go, including the President of Production, the Senior Vice President of Marketing and Distribution, and the Vice President of Publicity and Promotion. While Vestron Video would continue for a while, in large part thanks to a $15.7m payoff during a dispute over home video ownership rights to the 1986 Best Picture winner Platoon, the theatrical distribution unit was effectively dead. Some movies, including the Fred Savage/Howie Mandel comedy Little Monsters, the Harry Dean Stanton-led comedy Twister, and the Kathryn Bigelow-directed action thriller Blue Steel with Jamie Lee Curtis, would be sold off to other companies, but the titles left behind would see their planned theatrical releases cancelled and eventually be released direct to video.   Thanks to some of the legacy titles in their video catalog, including Dirty Dancing, Vestron would be able to stave off the inevitable, but in January 1991, the company would file for bankruptcy, their final film being the Stan Winston-directed fantasy buddy comedy The Adventures of a Gnome named Gnorm. Filmed in 1988 as Upward, the film featured Anthony Michael Hall as an Los Angeles Police Detective who has to team up with a gnome, a puppet created by Winston, the effects wizard who also directed the film, to solve a murder. For Winston, it was deja vu all over again, as his previous directorial effort, Pumpkinhead, found itself in limbo for a while when its distributor, the DeLaurentiis Entertainment Group, filed for bankruptcy in 1987 before they could release that film.   In bankruptcy court, Live Entertainment, partially owned by 1990s mega movie production company Carolco Pictures, would purchase all of Vestron's assets for $24m. Live used the assets as collateral to secure a line of credit from industry friendly banks, so they could start their own production and distribution company, of which their only moment of note was helping to finance Reservoir Dogs when no one else would.   Eventually, Live Entertainment would be sold off to Bain Capital, a private investment firm co-founded by Mitt Romney, in 1997, and they would rebrand Live as Artisan Entertainment. Artisan today is best known as the little independent distributor of The Blair Witch Project, but they also would enter into an agreement with Marvel Comics to make movies for 15 of their characters, including Ant-Man, Black Panther, Deadpool, Iron Fist, Longshot, Morbius, Mort the Dead Teenager, and the Power Pack.   Artisan would produce two movies based on Marvel characters, Man-Thing and The Punisher, although neither of those films would be released by Artisan. Artisan would declare bankruptcy in 2003, and Marvel would be one of the companies to place a bid for them. Lionsgate would end up becoming the winning bidder for Artisan's assets, which is how the vast majority of Vestron titles are now owned by a company that didn't even exist when Vestron closed shop.   Today, Lionsgate is the owner of the assets of a number of the companies we've spoken about on this podcast in the past, and will be talking about in the future, including Crown International, the DeLaurentiis Entertainment Group, Embassy Pictures, and New World Pictures. And it's also a major reason why so many of the movies we discuss in these episodes looking back at past companies are completely unknown today. As big as Lionsgate is, with nearly $3.6 billion in revenue in 2022, they aren't going to be able to keep up with the chain of ownership for every movies from every company they've purchased, and they're not going to put the money in to the movies that are barely remembered today. The Film Foundation, the non-profit organization co-founded by Woody Allen, Francis Ford Coppola, Martin Scorsese and Steven Spielberg, which is dedicated to film preservation, estimates the average cost to do a photochemical restoration of a color feature with sound to between $80,000 to $450,000 dollars, not including the cost of a 2k or 4k digital scan. I'm going to have a link in the show notes on our website at The80sMoviePodcast.com to a November 2018 article from the Science History Institute about the process of restoring films. It's not a long read, but it's a fascinating read. I hope you'll check it out.   So there you have it, the end of the line for Vestron Pictures, and many of the movies they helped to make and distribute, most of which you cannot find today in any form.   Thank you for listening.   We'll talk again next week when Episode 105, on the 1985 teen comedy O.C. and Stiggs, directed by Robert Altman, will be discussed.   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.

In this first episode of Season 4, we have some changes and surprises! We have new co-hosts here at the podcast: John Hoffman and Brandon Hayden are now behind the mics to spew bile about movies with us! Also, a new slate of awards! And to help usher it all in, we discuss Brian De Palma's berserk 1974 rock 'n roll opus "Phantom of the Paradise" starring De Palma wingman William Finley, legendary songsmith Paul Williams, and Suspiria's Jessica Harper in her breakout role! Are you ready to sell your soul to us for another season of midnight movies? Tune in to find out!

This week we have a look at the 1977 film Suspiria directed by Ssario Argento. This is Episode #395!Suspiria (Latin: [sʊsˈpiːri.a]) is a 1977 Italian supernatural horror film directed by Dario Argento, who co-wrote the screenplay with Daria Nicolodi, partially based on Thomas De Quincey's 1845 essay Suspiria de Profundis. The film stars Jessica Harper as an American ballet student who transfers to a prestigious dance academy but realizes, after a series of brutal murders, that the academy is a front for a supernatural conspiracy. It also features Stefania Casini, Flavio Bucci, Miguel Bosé, Alida Valli, Udo Kier, and Joan Bennett, in her final film role.The film is the first of the trilogy Argento refers to as The Three Mothers, which also comprises Inferno (1980) and The Mother of Tears (2007). Suspiria has received a positive response from critics for its visual and stylistic flair, use of vibrant colors and its score by Argento and the progressive rock band Goblin.Suspiria was nominated for two Saturn Awards: Best Supporting Actress for Bennett in 1978, and Best DVD Classic Film Release, in 2002. It is recognised as one of the most influential films in the horror genre. It served as the inspiration for a 2018 film of the same title, directed by Luca Guadagnino.

This week, the dudes have a Jessica Harper double feature: Brian De Palma's PHANTOM OF THE PARADISE and Dario Argento's SUSPIRIA. Not intended for children. The views expressed do not necessarily reflect the views of their employers. Twitter: https://twitter.com/TwoDudes7 Facebook:https://www.facebook.com/Two-Dudes-One-Double-Feature-Podcast-108846657540306 Instagram:https://www.instagram.com/twodudesonedoublefeature/?igshid=17oyviqg0pxno&fbclid=IwAR13Qy_UYaRmxREDtBlpA7zWovszRFB_C3QTB7xTbbDXZnvMZrWeATkCHHg Richard's YouTube: https://www.youtube.com/user/Channel23hahaha Joey's YouTube: https://www.youtube.com/channel/UCkFZy6PEmCY2SPScOAWkXbg?view_as=subscriber

Emotional intelligence has been identified as the most accurate predictor of future success.  Research has shown that the greatest advantage for children is to be raised by emotionally intelligent parents.  Jessica Harper, Founder and Owner of Aspen Valley Wellness, is my guest as we discuss the 5 components—self-awareness, self-regulation, motivation, empathy and social skills.

Mary joins Caitlin to cover Luca Guadagnino's reimagining of the Italian horror classic Suspiria. Like the original, the remake is hypnotic and surreal, and it features dancing and witchcraft. The 2018 version digs into motherhood themes, and it explores the dark feminine. AND, it stars Tilda Swinton, Tilda Swinton, and Tilda Swinton. Despite our qualms about the triple-casting, we really do love this one. Thanks for joining, Mary!

Pickens joins Caitlin to cover Dario Argento's Suspiria. We talk about Italian horror overall, Suspiria's bright colors (and its bright blood), the iconic score by Goblin, and lots of trivia. Tangents for this episode include: Return to Oz, chickens, Diablo Cody, Rugrats, and Sheetz. Be sure to check out Pickens' instagram to see photos from his very cool meet-and-greet with Felissa Rose! 

1 part horror, 1 part comedy, 1 part rock opera, 1 part Faust, 1 part Phantom of the Opera, 1 part Hunchback of Notre Dame, but how does it all come together? This week the Fried Squirms find out as they watch Phantom of the Paradise Support our Patreon! www.patreon.com/FriedSquirms Listen to more Fried Squirms at www.friedsquirms.com Check out all earVVyrm podcasts at www.earvvyrm.com Email us at squirmcast@gmail.com

This week, guest host Christopher Brown and I discuss Dario Argento's 1977 Italian masterpiece, SUSPIRIA! We also discuss other spaghetti slashers and giallo's, the punk genius of Claudio Simonetti's Goblin, plus everyone's favorite cowardly pup, Scooby Doo! Let's go RICK OR TREATING!CHRISTOPHER (GUEST):christopherbrownfilm.myportfolio.comINSTA: @christopherbrownfilmTHE POD:INSTA: @RickOrTreatPodRICKY (HOST):INSTA: @rickrtreatLETTERBOXD: @RickOrTreat

Four podcasters aboard a swiftly-moving bullet train filled with Aggressive Response Gorillas attempt to record an episode and find out that none of them can handle the length! On Episode 540 of Trick or Treat Radio we kick off December Double Feature Cram Jam with a Patreon Takeover programmed by our good bud Evil Corny! Corny has selected Something in the Dirt from directors Justin Benson and Aaron Moorhead, and Bullet Train from director David Leitch for us to discuss! We also talk about comfort media, bizarre British foods, and piecing together the puzzle of an unconventional narrative. So grab your spotted dick, try your hardest to avoid the White Death, and strap on for the world's most dangerous podcast!Stuff we talk about: Millennium Falcon, Cocaine Turkey, Turkey Bongs, Patreon Takeover, From the Canopy Podcast, Classics of Cinematics, Galactus Sex Toys, Indiana Jones and the Dial of Destiny, poorly crafted movie titles, Kanye West is a POS, Casablanca, matriculate, Supergirl, Dead Snow, Tommy Wirkola, Willow, Andor, Wednesday, Avatar, Strange Days, Near Dark, Disney+, Life's Too Short, Warwick Davis, Ricky Gervais, Stephen Merchant, Sherlock, Elementary, Jonny Lee Miller, 25 Days of Christmas Horror, Terrifier 2, Al Cool Vision, Bangers and Mash, Spotted Dick, Something in the Dirt, Justin Benson, Aaron Moorhead, Moon Knight, Resolution, Spring, The Endless, Synchronic, dysfunctional relationships, Oliver Stone, heady films, 2001: A Space Odyssey, Under the Silver Lake, Bullet Train, David Leitch, Once Upon a Time in Hollywood, Aaron Taylor-Johnson, Andrew Koji, Chekhov's Snake, Art the Clown on a Train, Clerks, Warrior, Watcher, Maika Monroe, A Wounded Fawn, Travis Stevens, Resurrection, Euro Disco, Samantha Fox, The Beyond, Demons, Lucio Fulci, Commando, Ribspreader, comfort media, Robert Heinlein, Dragon Riders of Pern, Dresden Files, New Warriors, New Teen Titans, Invincible, Calabrese, Aerosmith, Johnny Cash, Return of the Living Dead, Linnea Quigley, The Howling, Fright Night, Vamp, Farscape, Jim Henson, practical puppets, Chuck, Stargate, Outside the Cinema, Zombie Grrlz, Bloody Good Horror, Watch Along, Neon Maniacs, Barbarian, Kurt Russelmania, Deadstream, Death by DVD, Watch/Skip+, GGTMC, Bones and All, Jessica Harper, violence here there and everywhere, and take the piss out of sh*t.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Join Disney's Ike Eisenmann, author, Jonathan Rosen, and special guest, Dean Haglund from The X-Files, as they look back at 1974's Phantom of the Paradise, starring Paul Williams, William Finley, and Jessica Harper.

We're celebrating Halloween season with a commentary track for one of Agatha's favorite movies, Brian De Palma's 1974 cult horror musical Phantom of the Paradise! Listen as we praise the amazing songwriting of Paul Williams, identify De Palma's various references to classic films, and marvel at Jessica Harper's dancing. Listen for our countdown to start your copy of the movie. Warning: Contains explicit language, spoilers, and awkward traveling mattes. Our theme song is "Nostalgia TV" by Edward Jonathan Blakeley through Lynne Publishing.

Suspiria (1977) Movie Review - Dario Argento - Jessica Harper - Stefania Casin - Flavio Bucci - RTSSubscribe: InspiredDisorder.com/rts Binge Ad Free: InspiredDisorder.com/plus Show topic: An American newcomer to a prestigious German ballet academy comes to realize that the school is a front for something sinister amid a series of grisly murders.Director: Dario Argento Writers: Dario Argento (screenplay), Daria Nicolodi (screenplay), Thomas De Quincey (book "Suspiria de Profundis") Stars: Jessica Harper, Stefania Casini, Flavio Bucci JOIN Inspired Disorder +PLUS Today! InspiredDisorder.com/plus Membership Includes:Members only discounts and dealsRay Taylor Show AD-FREE + Bonus EpisodesLive Painting ArchiveComplete Podcast Back CatalogueRay's Personal Blog, AMA and so much MORE!Daily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links

We welcomed director Luca Guadagnino and actors Taylor Russell and Chloë Sevigny to NYFF60 to present and discuss Bones and All, a Spotlight selection of this year's festival, moderated by NYFF Executive Director, Eugene Hernandez. In a startling, star-making performance, Taylor Russell plays Maren, a teenager who has just moved to a small town in Virginia with her father (André Holland). However, it's only a matter of time before the frightening secret Maren harbors is revealed and she must hit the road again—on her own. Soon, she meets another young drifter, Lee (Timothée Chalamet), who understands her more than anyone she's ever met, and the two set out on a cross-country journey, satiating their dangerous desires and reckoning with their tragic pasts. Adapting a novel by Camille DeAngelis, director Luca Guadagnino (Call Me by Your Name) has crafted a work of both tender fragility and feral intensity, setting corporeal horror and runaway romance against a vividly textured Americana, and featuring fully inhabited supporting turns from Mark Rylance, Michael Stuhlbarg, Jessica Harper, Chloë Sevigny, and Anna Cobb. A United Artists release.

Never tumble-dry a bra! Film professor, director, Colors of the Dark podcaster and absurdist horror-comedy fan Rebekah McKendry joins hosts Slim and Gemma to gleefully dig into her four Letterboxd favs: Hedwig and the Angry Inch; The 'Burbs; Suspiria and Survive Style 5+. Plus: the download on Glorious, her new “classy glory-hole movie” for Shudder, starring Ryan Kwanten and JK Simmons. Also: soap-opera amnesia, rewatching Old, the perfect horror rating, terrible neighbors, why Letterboxd's Suspiria reviews are the best reviews, our thirst for Jessica Harper, important choreography chat, how to make a $50K movie, how to get JK Simmons in your film, how to get your glory hole the right size, why Rebekah always shows Hedwig to all her film students, and why you haven't truly lived until you have seen Survive Style 5+. Lists and links: The Letterboxd list of films mentioned; Rebekah and David Ian McKendry's 25 favorite absurdist cult and horror films; Maggots in Movies by Gemma; Luiz Brayner's films about lgbt people but where the main plot isn't about them being lgbt; Jim Cummings Four Faves Episode; Patti Bellatoni's book “If it's purple, someone's gonna die”; watch Survive Style 5+ on YouTube; Shudder's Letterboxd HQ. Reviews: The 'Burbs by theriverjordan; Suspiria by iana; andrea; #1 gizmo fan; christie; Hedwig and the Angry Inch by Liz Purchell; Survive Style 5+ by Foggy; No.1 Spy Kids Fan Credits: This episode was recorded in Auckland, Los Angeles and Pennsylvania, and edited by Slim. Facts by Jack. Booker: Brian Formo. Transcript by Sophie Shin. Theme: ‘Vampiros Dancoteque' by Moniker.

Wow! The 25th episode of Bloodhaus! Six whole months! This week the duo does their first double feature: Suspiria (1977) and Suspiria (2018). But first, they talk Jordan Peele's NOPE and sexy, sexy Burt Reynolds. From Wiki: "Suspiria (Latin: [sʊsˈpiːri.a]) is a 1977 Italian supernatural horror film directed by Dario Argento, who co-wrote the screenplay with Daria Nicolodi, partially based on Thomas De Quincey's 1845 essay Suspiria de Profundis. The film stars Jessica Harper as an American ballet student who transfers to a prestigious dance academy but realizes, after a series of brutal murders, that the academy is a front for a supernatural conspiracy. It also features Stefania Casini, Flavio Bucci, Miguel Bosé, Alida Valli, Udo Kier, and Joan Bennett, in her final film role.  It is recognised as one of the most influential films in the horror genre. It served as the inspiration for a 2018 film of the same title, directed by Luca Guadagnino.Next week: The Happiness of the Katakuris with Michael Varrati!Website: http://www.bloodhauspod.com Twitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Twitter: https://twitter.com/JoshuaConkel Joshua's Instagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel/