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4 episodes with Joel Silver
2 episodes with Joel Silver
It's Die Hard in a bank!This week on DIE HARD ON A BLANK, we plug into SWORDFISH — the slick, post-Matrix cyber-thriller produced by Joel Silver and directed by Dominic Sena. With Hugh Jackman hacking mainframes under extreme duress, John Travolta dropping pseudo-Brechtian monologues, Halle Berry delivering the most famous topless scene of the early 2000s, and Don Cheadle constantly violating people's civil rights, it's a film that dares to ask: does it matter if a movie makes no sense, as long as it's entertaining? We also dig into Swordfish's dense meta-layering and debate the broader question: when is too much meta actually bad for the form? As always we break the film down in detail in our ‘Anatomy of an Action Movie section', hand out some ‘Die Hard Oscars' and wrestle with some ‘Double Jeopardy' brain teasers…heck, there's even a Vinnie Jones impression thrown into the mix for good measure! What more could you possibly want?! SWORDFISH trailer:https://www.youtube.com/watch?v=lFwtY1bxlNcAt the time of release, SWORDFISH is available to rent or buy on Amazon Prime Video, Apple TV/iTunes, YouTube, Fandango and all the usual platforms, as well as on physical media!Click here to subscribe to our Patreon feed 48 HOURS OF BUDDY MOVIES! Sign up on the website (instead of the app) to save $$$!www.patreon.com/48hoursofbuddymovies Hosted on Acast. See acast.com/privacy for more information.
Welcome to another episode of Death Don't Do Fiction, the AIPT Movies podcast! The podcast about the enduring legacy of our favorite movies! It's May, which means it's time for the AIPT Movies podcast's “Mayhem” series! Where we cover movies that kick ass in the literal sense! In this week's episode, Alex, Tim, and guest Tony Sedani discuss the messy-yet-beautiful 1991 Bruce Willis action romp, The Last Boy Scout!Sleazy 90's vibes! A mile a minute pace! Satan Claus! Goons in sunglasses! $650 pants! An iconic celebratory jig! Football that's somehow even more dangerous than usual! A stadium with a secret hangout and fireplace! A surprisingly loud, public, and messy "professional" assassination! A guy with the name Joe Hallenbeck who has actually seemingly gone to hell and back! Behind the scenes friction that inspired a character in True Romance! A great musical score from Lethal Weapon & Die Hard's Michael Kamen! A cast that includes a young Halle Berry, Damon Wayans, Danielle Harris, Taylor Negron, and Bruce McGill! A shot of excessive violence and entertainment that's effectively a who's who of 90s action cinema with Tony Scott's visually stunning direction, Joel Silver producing, Shane Black writing endless one liners, and Bruce Willis delivering one of the greatest cigarette-smoking performances of all time!In addition, Tony discusses his Mission: Impossible series rewatch in preparation for “The Final Reckoning,” while Alex shares some spoiler-free thoughts on Fight or Flight, the third movie in the French Netflix action series, Last Bullet, and Final Destination Bloodlines!You can find Death Don't Do Fiction on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The Death Don't Do Fiction podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris and Tim Gardiner, the show gives you a peek behind the scenes from three filmmakers with oddly nonexistent filmographies. You can find Alex on Twitter, Bluesky, or Letterboxd @actionharris. This episode's guest, Tony Sedani, can be found on Instagram @tsedani. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the Death Don't Do Fiction crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter or Instagram @aiptmoviespod.Theme song is “We Got it Goin On” by Cobra Man.
Send us a textDo you remember Streets of Fire from 1984? We don't. Not really. Especially after watching the trailer and wondering if this movie is a Musical or 90 minute music video. The cast is stacked with a young Diane Lane and maniacal looking Willem Dafoe. The hero, Michael Pare looks Hero-Like with his smoldering good looks, motorcycle riding, shotgun toting aesthetic. So this is going to be very good or very bad and we can't wait. Do You Remember Liking This Movie?
We're still fixated on HEISTS, people!!! Nick Langdon pops in to discuss Charley Varrick (1973), directed by Don Siegel, and then Hudson Hawk (1991), directed by Michael Lehmann. Walter Matthau gets dark and grisly under Siegel's immaculate directorial hand (even if he didn't get the movie at all, apparently) and Joel Silver lets Bruce Willis' ego off the leash completely (with the result that very few people got the movie at all). Underappreciated gems or not? You be the judge! And then see if you agree with us! It's not really possible to spoil Hudson Hawk (plot is kind of secondary), but we will call out Spoiler Territory for Charley Varrick. If you want to skip ahead from that point, you can rejoin the conversation at the 1:23:51 mark to avoid spoilers. Want to get in touch? You can reach us on caliber9fromouterspace@gmail.com Theme music: "The Cold Light of Day" by HKM. Check out HKM on #SoundCloud or Bandcamp
Don't Kill the Messenger with movie research expert Kevin Goetz
Send Kevin a Text MessageIn this episode of Don't Kill the Messenger, host Kevin Goetz interviews Shane Black, one of Hollywood's highest-paid screenwriters, who redefined action films with witty dialogue, dark humor, and unforgettable characters. From Lethal Weapon to The Nice Guys, Kiss Kiss Bang Bang, and Iron Man 3, Shane discusses his journey from a self-described "oddball" to a filmmaking powerhouse.Pittsburgh Roots and Early Influences (02:55)Born in Pittsburgh, Black shares how his father's printing business and bookshelf of detective novels sparked his love for "tough guy literature" that would later influence his writing style.Overcoming Personal Struggles (08:00)Black candidly discusses his battles with OCD and alcoholism. He reveals how he transformed these challenges into creative strengths and encourages others to "just lean into being weird."The Psychology Behind His Characters (12:04)Black explains how his characters often represent different aspects of his own psychology. He emphasizes that truly compelling writing comes from creating characters with authentic emotional DNA that resonates with the writer's own experiences.The Creation of Lethal Weapon (15:32)Black describes Lethal Weapon as "an urban western" with Mel Gibson's character representing "a Frankenstein kept in a cage" - a Vietnam veteran reviled by society but needed when violence intrudes on everyday life.Working with Hollywood Icons (27:13)Black shares insights about working with legends like Richard Donner, Tony Scott, Joel Silver, and Robert Downey Jr.From Writer to Director (40:06)Black explains his transition to directing to have more creative control over his work. Black adds that directing allows him to move beyond returning to the blank page and into a more collaborative aspect of filmmaking.Latest Project: Play Dirty (52:01)Black discusses working with Mark Wahlberg, and adapting Donald Westlake's Parker series for Amazon, calling Westlake "the king" among mystery writers and explaining his lifelong admiration for these stories he first read at age 12.Throughout the conversation, Black offers a masterclass on screenwriting in Hollywood. Black and Kevin Goetz discover numerous personal connections, creating an unusually intimate portrait of a filmmaker who transformed Hollywood's action genre. His journey from a bookish child to acclaimed filmmaker serves as proof that leaning into one's unique perspective can lead to extraordinary creative achievements.If you enjoyed this episode, please leave us a review or connect on social media. We look forward to bringing you more revelations from behind the scenes next time on Don't Kill the Messenger!Host: Kevin GoetzGuest: Shane BlackProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, Nick Nunez, and Kari CampanoAudio Engineer: Gary Forbes (DG Entertainment) For more information about Shane Black:Wikipedia: https://en.wikipedia.org/wiki/Shane_BlackIMDB: https://www.imdb.com/name/nm0000948/Letterboxd: https://letterboxd.com/director/shane-black/ For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram
Une nouvelle enquête qui sent bon le portnawak du tout début des années 90 avec l'over the top Ricochet de Russell Mulchay sorti en 1991 ! Le fringant Denzel Washington affronte un John Lithgow psychopathe en mode Hannibal Lecter et qui synthétise à merveille toutes les outrances de son époque. Soit le temps béni des grosses productions à la fois tendues et musclées où tout était permis entre détonations, exagérations et autres pétages de plomb légendaires. Et c'est Cédric Belconde, alias The Last Geek Hero, derrière la chaîne youtube TOP 25 Action Movies qui vient mettre sa touche de C4 dans l'émission. Retrouvez la photo signalétique de l'invité en début d'émission ainsi que les complices (un film dans le même giron) en toute fin de podcast. Avec dans cet épisode, une fois n'est pas coutume, un retour sur l'ouvrage L'Encyclopédie du crime au cinéma signé Alain Bauer et Stéphane Boudsocq soit 200 faits réels pour 240 films et Etroite Surveillance le très sympathique Buddy Movie de John Badham (1987). Enfin en guise d'hommage au grand Gene Hackman nous reviendrons sur quelques unes de ses oeuvres les plus noires en fin d'émission. Un dossier mené par Rafael Lorenzo.
Couch Potato Theater: Commando (1985) Fandom Podcast Network YouTube Channel Link: https://www.youtube.com/@FandomPodcastNetwork Couch Potato Theater Audio Podcast Link: https://fpnet.podbean.com/category/couch-potato-theater Welcome to Couch Potato Theater, where we celebrate our favorite movies on the Fandom Podcast Network! On this episode we celebrate and discuss the 40th Anniversary of Arnold Schwarzenegger's action classic, Commando (1985). Plot: "A retired Special Forces colonel tries to save his daughter, who was abducted by his former subordinate, and a warlord forcing him to help lead a military coup in his home country" Commando is a 1985 American action film directed by Mark L. Lester and produced by Joel Silver. It stars Arnold Schwarzenegger in the lead role, alongside Rae Dawn Chong, Alyssa Milano, Vernon Wells, Bill Duke, David Patrick Kelly and Dan Hedaya. The musical score was composed by James Horner. Commando was released in the United States on October 4, 1985, where it received praise for the action sequences and humor. The film became a commercial success at the box office and was nominated for a Saturn Award for Best Special Effects. Fandom Podcast Network Contact Information - - Fandom Podcast Network YouTube Channel: https://www.youtube.com/c/FandomPodcastNetwork - Master feed for all FPNet Audio Podcasts: http://fpnet.podbean.com/ - Couch Potato Theater Audio Podcast Master Feed: https://fpnet.podbean.com/category/couch-potato-theater - Facebook: https://www.facebook.com/Fandompodcastnetwork - Email: fandompodcastnetwork@gmail.com - Instagram: https://www.instagram.com/fandompodcastnetwork/ - X: @fanpodnetwork / https://twitter.com/fanpodnetwork -Bluesky: @fanpodnetwork / https://bsky.app/profile/fanpodnetwork.bsky.social Host & Guest Contact Info: - Kevin Reitzel on X, Instagram, Threads, Discord & Letterboxd: @spartan_phoenix / Bluesky: @spartanphoenix - Kyle Wagner on X: @AKyleW / Instagram & Threads: @Akylefandom / @akyleW on Discord / @Ksport16: Letterboxd / Bluesky: @akylew - Lacee Aderhold on X, Letterboxd, Bluesky, Discord & Bluesky: @LaceePants / Instagram: @thelaceepants #CouchPotatoTheater #CPT #FandomPodcastNetwork #FPNet #FPN #Commando #Commando1985 #CommandoMovie #MarkLLester #ArnoldSchwarzenegger #RaeDawnChong #AlyssaMilano #VernonWells #BillDuke #DanHedaya #DavidPatrickKelly #JamesHorner #80sActionMovies #1985Movies #LetOffSomeSteamBennett. #KevinReitzel #KyleWagner #LaceeAderhold
Dom, Q, ILL, and special guest G6 take on the explosive 1991 buddy action comedy The Last Boy Scout in this week's Say Whats Reel review! Directed by Tony Scott and written by Shane Black, this film pairs Bruce Willis and Damon Wayans in a gritty, high-stakes adventure full of twists, laughs, and classic '90s action. Together, we break down the unforgettable one-liners, the shocking plot twists, and the dynamic chemistry between Willis and Wayans as they unravel a political conspiracy. Don't miss this in-depth and hilarious discussion—hit that like button, subscribe, and share your thoughts in the comments belowThe Last Boy Scout is a 1991 American buddy action comedy film directed by Tony Scott from a screenplay by Shane Black, and produced by Joel Silver. It stars Bruce Willis and Damon Wayans, with Noble Willingham, Chelsea Field, Taylor Negron, Danielle Harris, and Halle Berry. The film follows a washed-up private investigator (Willis) who teams up with a scandalized former football star (Wayans) to uncover a political conspiracy involving their former employers.Find the SWR Crew DOM CRUZETwitter: https://twitter.com/itzdomcruzehoe Instagram: https://www.instagram.com/itzdomcruzehoe/QTwitter: https://twitter.com/King_Quisemoe Instagram: https://www.instagram.com/king_quisemoe/We hope you enjoyed the video and the content we put out here at Say Whats Reel Thank you for watching!
On Episode 130 of The Film ‘89 Podcast, Neil & Skye will be grabbing their glow-rods and avoiding physical contact greetings as they jump forward in time from a crime ridden Los Angeles of 1996, to a seemingly harmonious, but borderline fascist utopian 2032 San Angles as they discuss the 1993 action-science-fiction cult classic, Demolition Man, from producer Joel Silver and then first time director, Marco Brambilla. It stars Sylvester Stallone, Wesley Snipes and Sandra Bullock in her breakout role. The guys discuss how this seemingly by-the-numbers ‘90s action film has transcended its roots due to it having layers of subtly clever social commentary and a level of mind boggling prescience that has helped it continue to age like a fine wine with each passing decade.
As we've already covered at other times on this podcast, 1989 was a golden year for film, specifically the action genre. Since we already reviewed Batman (1989) and Indiana Jones and the Last Crusade (1989), it is now time to cover that year's third place box office winner, Lethal Weapon 2. Franchises weren't really a thing yet, but after the splash the first Lethal Weapon made on video, not to mention the 80s action wave being cemented by Die Hard the year before, producer Joel Silver was adamant that it was time for a new Lethal Weapon. So he called his wonderkind Shane Black to write another one, which he did with his friend Warren Murphy. But director Richard Donner wasn't too happy with what he came up with, so he once again brought in Jeffrey Boam to do some touch ups. Though if you ask Black, he had completely rewritten what he wrote. But the result, is a slam bang action romp that, as already established, was a box office hit. Do the boys enjoy where the series went? And besides ‘diplomatic immunity', what is memorable about it? Download below to find out what Garrett, Matt, and Adam have to say about what many call a better film than the firs
As we've already covered at other times on this podcast, 1989 was a golden year for film, specifically the action genre. Since we already reviewed Batman (1989) and Indiana Jones and the Last Crusade (1989), it is now time to cover that year's third place box office winner, Lethal Weapon 2. Franchises weren't really a thing yet, but after the splash the first Lethal Weapon made on video, not to mention the 80s action wave being cemented by Die Hard the year before, producer Joel Silver was adamant that it was time for a new Lethal Weapon. So he called his wonderkind Shane Black to write another one, which he did with his friend Warren Murphy. But director Richard Donner wasn't too happy with what he came up with, so he once again brought in Jeffrey Boam to do some touch ups. Though if you ask Black, he had completely rewritten what he wrote. But the result, is a slam bang action romp that, as already established, was a box office hit. Do the boys enjoy where the series went? And besides ‘diplomatic immunity', what is memorable about it? Download below to find out what Garrett, Matt, and Adam have to say about what many call a better film than the firs
Real Sex cooking show; NFL TD celebrations; Joel Silver's ultimate frisbee co-captain; wedding line small talk; Canada's Fall financial report; bringing friends on the picnic; that's not Alfredo sauce; and who knows what's Boysenberry?Unlock the BONUS SCENE(S) at improv4humans.com and gain access to every episode of i4h, all ad-free, as well as TONS of exclusive new podcasts delving deeper into improv, the history of comedy, music and sci-fi.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Conversamos con el director Miguel Ángel Lamata sobre la mítica Acción Jackson, uno de esos títulos de acción que solo pueden nacer en los ochenta.
Hae chats with Jason Shuman, a film industry veteran who's transition from the bustling world of production to the contemplative realm of writing offers a rare glimpse into the intricacies of storytelling and the crucial interplay between departments in the industry.Explore his trajectory as a young, determined filmmaker finding his voice amidst the chaotic yet thrilling landscape of Hollywood. Jason shares how his strategic educational choices and early career steps, including pivotal internships with industry giants like Joel Silver, and Arnold Kopelson laid a foundation for success. His anecdotes paint a vivid picture of how educational freedom and real-world experiences converge to shape a unique creative identity, highlighting the importance of not just learning, but living.He reflects on the significance of networking, unexpected success stories, and key lessons from selling TV pilots. Through personal stories and professional insights, Jason underscores the symbiotic relationship between writers and producers and the necessity of understanding screenplay structures. This episode is a treasure trove for aspiring filmmakers and storytellers, offering practical advice and inspiration to navigate the ever-changing world of film.Send us a textFor our listeners, CFA's teamed up with We Make Movies to get you a discount on production management services, including access to comprehensive production insurance and workers' comp for your next shoot. Visit wemakemovies.org/insurance and use code CFA23 on your intake form for 10% off your quote.Calling all actors! Take 25% off your membership at WeAudition with code: CFA25 Website: www.cinematographyforactors.com Instagram: https://www.instagram.com/cinematographyforactors TikTok: https://www.tiktok.com/@cinematographyforactors Cinematography for Actors is a community aimed at bridging the gap between talent & crew through our weekly podcast & community events. Our weekly show supports the filmmaking community through transparent, honest & technically focused interviews with the goal of elevating the art of effective storytelling.
The writer Brian Abrams returns to the show from Brooklyn for the first of two episodes on the Die Hard series. In part one, Brian, the author of Die Hard: An Oral History, gives us the details on the genesis of the franchise, which perfected a formula for action comedy films that producers Joel Silver and Lawrence Gordon had been developing through the eighties with 48 Hrs, Commando and Predator and instantly converted Moonlighting's Bruce Willis into a legit movie star. Brian spoke to dozens of members of the Die Hard creative team for his oral history and we discuss the film's major players, the genre innovations, its politics, and the recipe for what makes a good Die Hard movie. And I force Brian to explain the Bill Clay scene; what tipped John McClane off that Clay was Hans Gruber? Part two of our discussion, on the other four films in the Die Hard series, is available on the Patreon feed. Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at patreon.com/junkfilter Happy Holidays from Junk Filter! Follow Brian Abrams on Letterboxd and check out his website. “Die Hard: An Oral History” by Brian Abrams is available to download as a Kindle Single. Trailer for Die Hard (John McTiernan, 1988) Canadian Labatt Ice Beer commercial featuring Alexander Gudenov, 1993
Der Name Joel Silver hat als Produzent das Actionkino geprägt wie kaum eine andere Persönlichkeit. Seine Vita umfasst eine schier unendliche Liste an Filmhits. Doch, welches sind denn die 10 besten Filme von Joel Silver? Dieser Frage gingen wir in diesem Special nach. Als Gäste fungieren in diesem Special Jan Langer (Glotzende Zimbelaffen) und Spike Waldmeier (CinéSwiss). Über Spike Waldmeier Facebook Instagram CinéSwiss-Podcast Facebook Instagram Podcast Über Jan Langer: Zimbelaffen Podcast Website Spotify Glotzende Zimbelaffen Website Spotify LetterboxdLinktree Letterboxd Liste der Seagal-Besprechungen Actionkult auf den sozialen Medien Instagram Facebook Bluesky Website Letterboxd Das Actionkult-Intro "Cracked Shell" by Furlong Furlong auf den Sozialen Medien Facebook Instagram Über Actionkult: Früher wurde über Filme geschrieben (kult.ch), heute wird darüber gesprochen. Meine Gäste und ich freuen uns immer über Feedback oder sonstige Anmerkungen und Ideen. Kontaktieren könnt ihr uns auf Instagram, Facebook, Twitter, Bluesky, Threads - oder herrlich old school via E-Mail: actionkult@gmail.com.
We're keeping it Christmas as Indy recommends the holiday neo-noir Kiss Kiss Bang Bang, Samantha watches Netflix's latest Lindsay Lohan movie Our Little Secret, and we preview the Chrismas movie loved by 90's kids everywhere (except Samantha) Home Alone! I Love This You Should Too is hosted by Samantha and Indy Randhawa Kiss Kiss Bang Bang is a 2005 American neo-noir black comedy crime film written and directed by Shane Black (in his directorial debut), and starring Robert Downey Jr., Val Kilmer, Michelle Monaghan, and Corbin Bernsen. The script is partially based on the Brett Halliday novel Bodies Are Where You Find Them (1941), and interprets the classic hardboiled literary genre in a tongue-in-cheek fashion. The film was produced by Joel Silver, with Susan Levin and Steve Richards as executive producers. Our Little Secret is a 2024 American romantic comedy film directed by Stephen Herek and written by Hailey DeDominicis. It stars Lindsay Lohan alongside an ensemble cast, featuring Ian Harding, Tim Meadows, Jon Rudnitsky, Judy Reyes, Henry Czerny, Chris Parnell and Kristin Chenoweth. The film was a part of Lohan's creative partnership with Netflix under which she also executive produced the project. Home Alone is a 1990 American comedy film directed by Chris Columbus and written and produced by John Hughes. The first film in the Home Alone franchise, the film stars Macaulay Culkin as Kevin McCallister, a young boy who defends his suburban Chicago home from a home invasion by a pair of robbers after his family accidentally leaves him behind on their Christmas vacation to Paris. The cast also features Joe Pesci, Daniel Stern, John Heard, and Catherine O'Hara.
Send us a textDid you know Lethal Weapon takes place in L.A. during Christmas? Neither did we. But now that we do, we couldn't be more excited. We remember Riggs being certifiably crazy and doing a Three Stooges impression while Murtaugh complains about being too old to do pretty much anything. But you throw some Gary Busey in there and we'll grab the eggnog and head back to 1987 for one the most iconic action movies ever. We just hope this is a Christmas treat and not a big fat lump of coal.Do You Remember Liking This Movie?
It's Die Hard in a hitman movie!This week it's the DIE HARD ON A BLANK 50 th episode bonanza, and Phil and Liam aretracking down THE JACKAL, the 1997 action-thriller starring Bruce Willis, Richard Gere, SidneyPoitier, Diane Venora and J.K. Simmons!After an FBI raid results in the death of a vicious Russian gangster, the mobster's aggrievedbrother hires an elusive international assassin known as ‘the Jackal' (Bruce Willis) for aretaliatory killing against a high-profile American target. But because so few people have everseen this wily hitman in the flesh, FBI Deputy Director Carter Preston (Sidney Poitier) decides tobring one of the Jackal's former cohorts - imprisoned IRA sniper Declan Mulqueen (RichardGere) - onto the task force assigned to stop him. Can Carter, Declan and the team track downand take out the Jackal before he completes his deadly mission?With its high-stakes terrorism plot and escalating action, THE JACKAL shares strong DNA withthe DIE HARD series, providing ample material for comparison. Phil also uncovers somefascinating information about alternative casting choices for both films, that spark somecaptivating thought experiments. Did you know that Richard Gere was formally offered the roleof John McClane, and that producer Joel Silver aggressively pursued him for the part?Phil loves this film, whereas Liam is not so hot on it, so they each present the case for thedefense and the prosecution. They discuss the performances of the lead actors, particularlyBruce Willis' portrayal of the cold-blooded assassin, and Richard Gere's complex, reluctanthero, as well as the excellent supporting turns from Sidney Poitier and Diane Venora (Venora-Cast anyone???). The episode also explores the film's reception, examining its critical reviewsand box office performance, (and controversies), and the guys discuss how it fits within thebroader action-thriller genre of the late 1990s. The late appearance of the Marine heavyhelicopter in the film's finale ticks the ‘Philly Special' box and sends Phil into delirious rapture!As always events culminate with the DIE HARD Oscars and the Double Jeopardy trivia quiz, butstay tuned for a very exciting announcement at the end of the show!THE JACKAL trailer:https://www.youtube.com/watch?v=nszMBbCZKo4At the time of release, THE JACKAL is available to watch on Tubi and Starz, and is available torent or buy on Prime Video, YouTube, Apple/iTunes, Fandango, and all the usual platforms! Hosted on Acast. See acast.com/privacy for more information.
Send us a textThis week we talk about Predator 2 from 1990. Our creator profile this week is the legendary Bill Paxton!https://www.instagram.com/thebonsaimoviecrew/https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT
This week on The Pod Charles Cinecast, presented by The Prince Charles Cinema, our hosts Jonathan Foster and Fil Freitas are back with PCC Barman, PR team member, and San Francisco aficionado Robbie, to talk about one of the most insane action-thrillers from the 90s, RICOCHET! Starring Denzel Washington, John Lithgow, and Ice T, written by Steven E. de Souza, produced by Joel Silver and directed by Highlander director Russell Mulcahy, there couldn't be a better recipe for a hit, right? Right?!! Denzel stars as Nick Styles, a rookie cop, who sends Earl Blake (Lithgow), a psychotic hitman, to prison. Years later, Blake escapes prison with a well-calculated plan to seek revenge on Styles. This plan includes framing Styles with embezzlement of public funds, theft of pledge drive donations, and CP — before pumping him full of heroin and cocaine, giving him the clap, and framing him for murder. Seriously! What else can we say? It's a bat shit insane movie, that is only believed by seeing! And you should definitely see it! "I'm gonna do something far worse than kill you. I'm gonna let you live." For full listings and tickets visit: princecharlescinema.com If you enjoy the podcast, leave a Rating and Review! It really helps us out! As always, you can follow the Podcast on http://twitter.com/ThePCCPodcast and http://instagram.com/ThePCCPodcast If you'd like to Support the Podcast and get Bonus Content, visit: http://patreon.com/ThePCCPodcast
Send us a textThis week we talk about Weird Science from 1985! Our Creator profile is Anthony Michael Hall! https://www.instagram.com/thebonsaimoviecrew/https://twitter.com/bonsai_crewhttps://www.tiktok.com/@thebonsaimoviecrewhttps://discord.gg/8jCPe8T2kT
Dennys Ilic is a genuinely beautiful person who has, for the past 18 years, pursued his passion as a professional photographer. He is also a celebrated Leica photographer. He has become internationally renowned as an editorial portrait photographer, best known for his edgy and soulful images. He has worked with clients including A-list actors Daniel Radcliffe, Jason Momoa, Halle Berry, Charlie Hunnam, Viola Davis, Keanu Reeves, Glenn Close, Ryan Reynolds, Cindy Crawford, Sandra Bullock, Melissa McCarthy, Karl Urban, Edward James Olmos, Rosario Dawson, Lawrence Fishburne, Mary McDonnell, Gwyneth Paltrow, Kevin Hart, Lou Diamond Philips, as well as Joel Silver, David S. Goyer, and Peter Jackson, to name a few. Dennys has been instrumental in publishing five successful hard-cover photographic art books and is in preparation for creating the Star Trek Discovery Coffee-Table Book. Today, we will talk about MEN OF SCIENCE FICTION. See his work at https://leicagalleryla.com/gallery-view/dennys-ilic/
By Walt HickeyWelcome to the Numlock Sunday edition.This week, I spoke to Joanna Robinson and Dave Gonzales, coauthors of the book MCU: The Reign of Marvel Studios, out in paperback this week.I really loved the book, it dives into what is the main flywheel of mainstream entertainment, for better or for worse, and dives into the fascinating history of the MCU. Whether you're a fan of Marvel movies or just someone living in a world dominated by them, the book is a really interesting look into contemporary filmmaking and the pressures and economics and just simply human scale of these massive operations.We spoke about Marvel's journey from underdog to cultural icon, how its moviemaking process has changed over time, and what it was like covering a narrative that was developing in real time.Robinson and Gonzales can both be found on the podcast Trial by Content, and the book can be found wherever books are sold.This interview has been condensed and edited. Dave and Joanna, thank you so much for coming on.GONZALES: Absolutely.ROBINSON: Thanks for having us.I really, really love this book. So happy to see it out in paperback. I guess I'll just kick it off with an easy one: What were each of your first experiences with Marvel? How'd you get into this?ROBINSON: As in the comic books or the films?Anything.ROBINSON: Anything at all. Gosh, I think X-Men: The Animated Series was my introduction, back in my infancy. It really got into the world they created, the various characters, their character sets, the trading cards, and then everything spirals out from there. That was my introduction.GONZALES: Mine was probably with the comics. I might have had some X-Men: The Animated Series in there, but I got much more into the comics around late 1993, early '94, when I happened to buy a Spider-Man issue that was part of “The Trial of Peter Parker.” Suddenly I had questions: Why was Peter Parker on trial? How many different Spider-Man books were there? Because I bought an issue of The Spectacular Spider-Man, but the next part of “The Trial of Peter Parker” was The Amazing Spider-Man.That led me to get a cubby at my local comic book shop in Louisville, Colorado, which was Time Warp Comics at the time. That was my way in, just being a comic book fan. I also jumped in on one of the longest and mostly considered worst Spider-Man arcs, but loved it. So imagine how good “good” Spider-Man was to me as a child, because I got weaned in on “bad” Spider-Man.Amazing. One reason I really dug the book is that it's about the MCU, but it's also about Marvel, the history of this entire company, and its very different evolution over time, from the '60s to the period of the '90s. What was it like trying to cover not just a film series, but a big franchise with a lot of moving parts as part of an even bigger company with even more moving parts?ROBINSON: A good question we asked ourselves was both where to start and where to end, and where to end was a constant, ongoing question mark. I'll let Dave address that. But in terms of where to start, there were certain things we felt we had to backdate, because there were players involved in the major “How did Marvel Studios come to be?” question and you had to know who they were, why they were important, how did we get here and what were the stakes? Being able to loosely explain who's Stan Lee, who's Perlmutter, who's Avi Arad, who are all these people, helped us tell that story without losing the audience entirely by throwing a bunch of new names at them. Dave, what about ending the book?GONZALES: Oh, ending the book. That was super fun. We started right as Avengers: Endgame was in theaters. I remember seeing Endgame and knowing that Joanna and I were going to work on this, so we started off thinking, what a fantastic hill that Marvel climbed, this interconnected universe with three phases. Everything surely was planned out from the beginning and could only go up from here. The book was originally “The Rise of Marvel Studios,” because we thought surely this was just up and up and up.Then the pandemic hit — which was very good for us, having to write the book and just sit down and figure out what it was. It also gave us and a lot of sources a pause to regain our footing. As Marvel started rolling out, we tried to peg an end date. I wanted it to be Blade to Blade when we started, but Mahershala Ali's project has still not come out, so that became an impossibility. Then WandaVision premiered and suddenly there was this whole other aspect to the story we were trying to tell. So we wanted to do that and just tried to report things as they went along.We were blessed and cursed by the year that we published the hardcover, October 2023. As we were turning in the final part of the book in January and February, a whole bunch of Marvel news started breaking. Ike Perlmutter left Disney; Victoria Alonso, who was a big mover and shaker in Marvel Studios, was let go, so we had to report that out; Jonathan Majors went on trial.It was only in a panic over all those things that I really ended up appreciating what we had done just by thinking of all these topics so thoroughly for several years. Even though we were tacking new endings on, it wasn't that hard to make it feel like it was a whole arc because we were kind of working there anyway. I wouldn't say I'd've enjoyed releasing the first version of this book in one of Marvel's worst financial years and most critical years ever, but I do think it provided an interesting little tie-off or a fascinating ellipses that allowed us to be relevant and, more importantly, in the year 2024, look like we knew exactly what we were talking about in Marvel's rebounds.That's a really good point. When I met you on tour, a key thing you were getting at was that the idea that Marvel has not had a slump before is naive, and also ahistorical. A fun thing about the book is that you go through all these different eras, and sure, there's an easier story and probably a more polished, corporate story that's ever upward, toward Excelsior, all that crap.But you really do cover the pits and troughs of this. There was Iron Man 2; there was Thor: The Dark World; there was that period of time between the assorted Spider-Mans. What was that perspective like, particularly as it was coming out and as you were able to talk about the issues in 2023?ROBINSON: It was important for us, just on a basic journalistic level, to try to tell as much of the story as possible. We're fans of Marvel, of the movies, but as long as I've known Dave, both of us have been people who don't like to feel like we're not being told the whole story. We don't want the PR version of something — we want to know all the messy details as well. And it's not to knock Marvel or have any kind of “gotcha” moment. It's to say, “Okay, they had these various pitfalls, these various problematic people that they were working with, X, Y and Z. Look what they accomplished anyway.” That's the story in broad strokes. It was important for us to be able to acknowledge the stumbles along the way.When we found ourselves in a 2023 space where everyone was saying Marvel is cooked, or Marvel used to know exactly what it was doing from the beginning and now they're just making it up — no, they were always making it up. They just did it so well, you didn't notice. That gave us a better perspective to be able to say, let's just slow down. We were looking ahead to 2024, saying they're only putting out one movie and two shows next year. If those hit, then you'll start to hear that Marvel's back, baby. Then Deadpool & Wolverine makes a gajillion dollars and Agatha All Along is a pretty solid hit for them.So I think that “Marvel is over” narrative that was so prevalent a year ago is now the question, “Is Marvel back?” Looking even further forward at the next couple of big projects coming, I think Captain America: Brave New World is going to be a tough one for them. I don't know if that's going to hit the way a lot of people want it to. I think Thunderbolts is going to be hit for them, and I think The Fantastic Four: First Steps is going to be hit for them. They're still getting their bearings, but to your point, it was a bit naive to say they've been nothing but successful and now they've run off a cliff. Dave, what do you think?GONZALES: It was just a less interesting narrative, ultimately. I actually found myself getting less adversarial the more we learned, especially being a fan when all this started around 2008. There was this idea that Joanna was talking about, which is even a fan perspective today, that if something doesn't work out it's because we've been denied something at some creative step. Like, you know what, screw those guys; we want to do Harrison Ford as Red Hulk instead, or something like that.But it's not that at all. There are a whole bunch of different drama and production and business problems, and all these things come together to make these gigantic machines of a movie work. It was really important for us to drill down on Marvel Studios and get into those ups and downs, because a lot of times you can try to compare Marvel Studios to something through contrast, through Warner Brothers trying to do it with DC back in the early 2010s. Everybody started trying to launch an interconnected universe from the first movie, but all you could really say is that Marvel's worked and these others didn't. The details of the alchemy are in the tiny stories and little conflicts. That's why I think they were so important to track, be they how movie stars look or how we use CGI to make movie stars look. Tracking that over at Marvel Studios was just as important as how many movies Tony Stark was going to be in.Can you speak more to how much of this was on the fly? One of my big takeaways from your book was just how much things aren't necessarily set in stone during the production of a movie, and how sometimes one person's smart idea, regardless of where it comes from, can drastically alter what a lot of folks think was written in stone in 2007.ROBINSON: That idea of “best idea wins” — without ego; best idea from whomsoever — was a prevailing concept at Marvel. Kevin Feige was also this really interesting figure that has no comparison at any other studio. He's head of the studio, a creative producer, a storyteller in his own right and someone who wanted to make movies as a kid and thought he would be a director. He wound up an executive, but he has that storytelling sense. When Marvel was putting out fewer films and TV shows — or no TV shows at all and just a few films a year — the process was, “Go shoot your movie. Bring me, Kevin Feige, back the pieces and I'll tell you what you're missing.” They had this built-in reshoot window where you could go and add scenes where he felt like you hadn't really nailed this character, or cut this action out to bump up the action over here a bit more. They had this rough-drafting process with the master editor being Kevin Feige himself. There's no system like that at any other studio.That works so well for them, and in doing so, they're able to cement over the cracks and make it all feel like one smooth story that they're telling, because that refining process is built into their filmmaking process. Once the mandate comes from Disney, from Iger on his way out the door, from Chapek in his seat for a while, that they need to compete with Netflix and all these other streaming services, that they need more and more content — then the pace becomes untenable for that revision process that made them so solid in the first place.You talk about Feige not having an analog. I was really shocked reading the book because there's not even anything recent. You have to go back to Cecil B. DeMille for someone who has that producer, authorial presence. He's really a fascinating figure, and it's a key takeaway from the book that I loved. It really highlights the people who make these movies, not just the corporation. It's actual human beings who do this kind of stuff, often with long continuities. Do you want to speak about some of that?GONZALES: Definitely. Actually, while you were talking, I was wondering if part of the chip on Zack Snyder's shoulder was because someone at some point told him he was going to be a Kevin Feige and he's been chasing that ever since.A lot of the Marvel continuity that's been going on is still going on, even after our new chapter. It's been interesting to see how it's developed. It could be that the best idea wins, but then they also have that old school, in-house process where the starting team is very often the same people and has been since phase one. You put together a bullpen of concept artists, so you're constantly using concept art. Not only is that smart from a design standpoint for making a movie, but then you can have those things scanned and it goes directly into making toys. So at the beginning, there's no fight about bringing on these design creatives super early on.Where we start to see the wear and tear is, as Joanna was saying, with this output increase. All of the pressure starts being put on post-production, which is the place where you can't make more time. The solution is to hire more people, and because of that, the job of keeping things consistent falls to Victoria Alonso.She does a pretty good job considering that she's working a 24-hour, seven-days-a-week work schedule because the industry is so messed up. It was never built to do stuff like this. In a lot of ways, the way the VFX industry is structured is still from the '90s turn of the century, when you would bid on a number of shots to do and get money for that number of shots. You'd have to work those shots until they get approved by the director. There isn't an extra budget, and there isn't an overtime, which was a fine way to do it when there were three or four VFX shots in every movie. But now that we're in the 200s or some such, there's a natural strain put on that, and it's impossible to budget on the VFX side. They have to underbid because there's a limited amount of work. If Marvel decides they don't like you, as much as a third of your entire year's work can just not come to your company.As Marvel ages into it, we get a lot of people who are able to make their careers there, from Kevin Feige to Mary Livanos, who's doing great things on Agatha and seems really close to being ascendant. We have Brad Winderbaum, who's been made head of streaming now to take some of that pressure off Kevin. You have all these great continuities. You're less likely to see continuities in visual effects artists, just because of how they're going recently. When Joanna and I were interviewing people like ILM for Hulk, occasionally we'd do a person that was in three or four movies. Now, like for Guardians of the Galaxy Vol. 3, there was a team of about 12 people at Framestore who make animals look good. They just come in for that movie to make animals look incredibly good. They did it the whole time, but they're not as legacy as other parts of the Marvel development studios — which I hope will change, because there are some people who are really good at making Hulks. And if you've made Hulks for 20 years, shouldn't those be the people that are making Hulks in Brave New World? We'll have to see.ROBINSON: I love that you mentioned Cecil B. DeMille. As we were putting this whole story together and realizing that they bring all these teams in-house, Dave and our coauthor Gavin and I, we are to varying degrees students of old Hollywood history, and we had this realization that it's just the old Hollywood studio system. You're putting actors under contract for nine movies, all this other stuff, and we felt so smart. Then I was talking to someone who worked at Marvel and they were like, “Oh yeah, Kevin says that all the time.” I was like, oh, I thought we really put something together. But at least we were right! We were consciously doing this.I think that industrial element of it is really interesting. A key thing that changed the way I see the film industry was realizing that every movie is basically a corporation that briefly exists. Every movie is an entire apparatus, with a CEO operation and departments and all that. Then it folds and you move on to the next one.With Marvel, though, the circus never closes; it's just onto the next city. It was really interesting to see its place in the industry. Like Dave was saying, the limiting reactant for some of this is just the number of animators on the earth who are capable of making this kind of stuff. It's so cool to get a look inside this apparatus through the book.ROBINSON: Thank you.GONZALES: What an apparatus. It's really interesting to me, even now, as we are pending the return of the Russo brothers, who are just able to find this and also find the emotion in it.In Endgame, the Tony Stark “I am Iron Man” moment was the last insert. They had to go to dinner with Robert Downey Jr. and Joel Silver and have Silver be like, “You'd be dumb not to do it, Robert,” because Downey didn't want to go back there. He's a weird dude, but for him, it felt like in order to get to what he needed to do, he had to take off a scab that had formed and get back into the character. Whereas the Russo brothers are like, we built a workout system and we have our smoothies and every day is trying to make the machine work. Somehow, through the alchemy of those two things, the machine works, and occasionally we get these story moments that feel like they were created individually for that movie.That, I think, is the mystery that the book is trying to unravel. At the beginning, it's untapped storytelling potential. Everyone's like, if you don't have the X-Men, if you don't have Spider-Man, what do you have? There's so much in just proving that you have good stories. Now that you're the biggest game in town, that idea of, “Are you going to make me feel anything?” is so much different than what the initial promise was, that they're going to bring Thanos to the screen and you're going to understand who he is and what he wants. That was the big lift. Now there's a whole simultaneous saving of the industry, and bestowing status on different actors. There's just so much more mixed up in it now. It's amazing we got where we did.The book is also a really interesting look at the transition from being a super underdog. As you describe in the earliest chapters of the book, Marvel was bankrupt, and all the executives were folks who fell out of the toy industry or Revlon. The folks who were in charge came to it in the manner of somebody accidentally having to join a carnival, and then eventually it becomes the hegemonic juggernaut of everything, in many ways the thing that people stand against. In the book, watching the perception around it change and then internally having to adapt to that change in perception was a really cool tension.ROBINSON: My favorite indicator of that underdog status versus top-of-the-world status versus wherever we are now is the making of the first Iron Man movie. Marvel Entertainment in New York — who was, to your point, chiefly concerned with merchandising and toys — had the attitude, “Okay, go make your cute little movie. If it doesn't cost us any money, you can go do your little cinematic experiment in Hollywood and we don't really care that much. Just make sure you don't spend any of our money. Other than that, go have fun.”And they make Iron Man, and Iron Man is a massive, smash hit, and all of a sudden the people in New York are like, we're forming something called the Creative Committee. We would like a lot of intake. We want to be part of this. This is the big shiny thing, and everyone wants to weigh in on it. So it's really interesting to track this going from a weird little project they were doing out in Los Angeles to The Thing for Marvel. You can track it by who needs to have an opinion about what and when they start to care.GONZALES: One of my favorite moments — it's after the book chapter “Marvel vs. the Creative Committee” — is when Kevin Feige gets on stage himself to unveil the entirety of phase three, which includes Captain America: Civil War and Avengers: Infinity War and everything. That is such a telling moment for me. He had just won his battles with these behind the scenes. He's fully in full control. Black Panther is coming. Joss Whedon is in the edits for Avengers: Age of Ultron, in the audience, but they already know he's not coming back.There was a version of a chapter in the book that was just me going through that and being like, here's why each one of these announcements is like Kevin Feige spiking a football in the face of someone that told him he couldn't do it. That's still the purest creative energy I've seen. “We could finally do it!” burst out of Marvel. I think they've been more reserved since, even with some big announcements, but I like to go back and look at that just to see the pivot point when Marvel was the underdog. It was like, we want Black Panther, we want Captain Marvel, but the studio won't let us do it. Then Kevin Feige gets up and goes, “Here are the next 10 years of your life.” It's just such a joyous moment.ROBINSON: We love that moment. We talked to people behind the scenes who were working at Marvel at the time about it, and there's a reason that whole presentation wasn't at a Comic-Con. It wasn't at D23. It was its own thing at the El Capitan Theater in Los Angeles, and internally, they jokingly called it Kevin-Con. It was this whole thing, and part of it was that they weren't ready to announce certain things at Comic-Con.But part of it was this moment for Feige who fought various personalities across the various companies to get control of the narrative. And I agree, Endgame is of course in all of history going to be looked at as the pinnacle of achievement at Marvel. But I actually think it might be Kevin-Con at the El Capitan Theater, when Chadwick Boseman comes out and Robert Downey Jr. and Chris Evans are there to anoint him as the future of the franchise. That, of course, comes with its own terrible poignancy. We were really lucky to talk to Chadwick Boseman for the book before he passed away. These were things that happened while we were writing the book. History was constantly happening as we were trying to frame this entire narrative.If there's a protagonist in the book, it feels like it's Kevin, even in the earliest days when he was advising on the Fox products. Having read the book and then seen Deadpool & Wolverine — which, as you mentioned, went on to become a phenomenal financial success — it was really cool to come away with a little more admiration for the role that Kevin had in some of the Fox properties. Seeing that manifest in the MCU was just really nice.ROBINSON: I love that he got to have his Wolverine story, given that it all starts with him in a trailer with Hugh Jackman saying it needs to be bigger, it needs to be bigger, it needs to be bigger. I love that.GONZALES: I don't even know if it's still called that, but Joanna used to call that the “Feige fix-it.” Instead of developing these things by always going forward and introducing younger Avengers, he's actually much more interested in reaching back. There were good things there. Or, I guess the generous way to think about it is rewarding the fans that were around before it was the Marvel Cinematic Universe. Like, “You didn't waste your time with X-Men: The Last Stand. I know it might have felt like that occasionally, but here's this. Or Andrew Garfield. Yeah, maybe we treated him badly, but don't worry. You didn't waste your time with that because boom, here it is paying off in the Marvel Cinematic Universe.”Initially there was some hesitancy about Marvel homework. Do I need to have seen these things to do these things? But ultimately, if we're just talking dollars and cents, the nostalgia play has made them a billion dollars so many times that it doesn't surprise me that Deadpool & Wolverine is a huge hit just by being a swan song for the Fox movies.ROBINSON: I was personally incredibly gratified to finally get Channing Tatum as Gambit. That was a very important moment for me.My favorite version of the Feige fix-it was putting the storyline from Thor: The Dark World into Endgame and making Thor: The Dark World, the most universally mocked and reviled MCU film, an integral part of their biggest triumph. All of a sudden that's wrapped into the larger tapestry in a way so you can't just toss it in the garbage and say, oh, don't bother watching Thor: The Dark World — now you have to watch it to understand everything you're seeing in Endgame, which is certainly not a movie you're ever going to skip.It's a magic trick that really works and almost shouldn't work as well as it does. But even how they were able to get the Infinity Stones, almost taking elements of the first couple films that were dropped or introduced somewhat randomly and then doing that. It's a trick that they keep on pulling.GONZALES: Kevin Feige will say this, but we're coming up on 80 years of comic book history, and if there's one thing that comic books do more than any other medium, it's just use the same story. How could you have another angle on this story? They have so much A/B testing on what we like about this character, or what we'll buy about a certain character, it's interesting to see Marvel adapt that along with what sort of story you like on the Hollywood side of it.But yeah, we're going to see Captain America: Brave New World and finally see that Celestial that came out of the ocean in Eternals. Every Marvel property contributes something, we're told. Except the Inhumans; that never happens.The book is MCU: The Reign of Marvel Studios, and it's a fascinating look at the intersection of the humanity behind these movies and the technology of these movies. And if there's one figure that reminds me of that in particular, obviously, one of the most central people in the Marvel universe is Green Steve. Let's talk a little about him before we wrap this one up.ROBINSON: He's my favorite! Green Steve, a Chippendales dancer that was painted green in order to make sure they understood how the green light on skin would be captured accurately for the Hulk. Green Steve was one of my favorite anecdotes we got, and it was out of the book for a while before we worked it back in. Dave, what do you want to say about Green Steve?GONZALES: I love Green Steve. I love that this bodybuilder from Long Island can technically say he played the Hulk in a sort of way. In theory, because it's a whole CGI character, he might have played the Hulk close to how much Mark Ruffalo played the Hulk in that first movie. I love that story.Pretty early on, we brought in Gavin Edwards, our third author, to help us do a book, since Joanna and I had never done a book before. We were starting to put together the notes and I was like, can we please have a mid-credits scene? Can we just have a chapter in the middle of the notes?ROBINSON: That was Dave.GONZALES: I held onto that for as long as possible. I remember in one of the final meetings after we turned in the draft, we pitched it up to the editor and they were like, “That's really fun,” and I thought, oh thank god. That was a really early idea, and Green Steve fits that perfectly; it's a super interesting story that doesn't really belong anywhere else, but will stick in your mind as, Marvel literally tried everything to make the best Hulk. So I'm very happy that it's the mid-credits chapter — and remains the mid-credits chapter! Even when we added another chapter in, we were like, where does this go? Not before Green Steve.ROBINSON: He's got the final word for sure.Amazing. The book's out of paperback now. Where can folks find it? Where can they find you? And what's next?ROBINSON: “All good and evil news agents.” That's what the Empire Magazine folks say. All good and evil bookstores or any online book purveyor is where you can find our book. Dave does a tremendous podcast called Fighting in the War Room, which I love to listen to, so you should listen to that. And together we do a podcast called Trial by Content that y'all should listen to.GONZALES: Joanna's on a fantastic podcast called the House of R with Mallory Rubin over on The Ringer, where she covers lots of cool pop culture things. If you want to go to a bookstore and don't know exactly which one to go to, you could head to theMCUbook.com. That will forward you to our publisher's website, which has links to your Barnes and Nobles, your Amazons, your Bookshops.org, and will help you track down the book near you. And look for us in a couple more years with something similar.Thanks for coming on.ROBINSON: Thanks, Walt.GONZALES: Thank you.Edited by Susie Stark.If you have anything you'd like to see in this Sunday special, shoot me an email. Comment below! Thanks for reading, and thanks so much for supporting Numlock.Thank you so much for becoming a paid subscriber! Send links to me on Twitter at @WaltHickey or email me with numbers, tips or feedback at walt@numlock.news. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.numlock.com/subscribe
Gore-dan and HELL-ex take a dive into the musty vaults of the early '90s to unearth the SLASHinating facts behind "Tales From the Crypt," arguably the scariest thing to come out of Joel Silver's career, except for all the things that haven't been unsealed! [incredibly irritating high-pitched laugh] But yes, that's right BOILs and GHOULS, they're looking into the HBO phenomenon that turned a desiccated corpse with a Borscht Belt sensibility into a household name -- and no, we're not talking about Don Rickles! Your pals of putrescence dive into the history of EC Comics, the trailblazing comics label that provided the source material, the weird German guy (not that one) who killed them off, and the wave of nostalgia that carried four of Hollywood's biggest power players in the '80s and '90s to create a well-funded, creatively free long-running project that everyone was excited to be a part of! They'll tackle the positively insane guest list cast, the weird spin-offs, how much Dennis Miller sucks, and other spooooooooky things like budgets and Nielsen ratings! It's Boo MuLCH InfoSLAYtion: Spooky month! Support your friendly neighborhood TMI Guys here! https://ko-fi.com/toomuchinformationpodcastSee omnystudio.com/listener for privacy information.
CK and Uncle Bill haven't talked a lot about Tales From The Crypt...until NOW! The entire show is a rundown of the history of the comics, the movies, the tv show and beyond. Don't miss it Kiddies!!
The Writers' Hangout dives into some entertainment news. Sandy and Terry cover the latest hot Hollywood lawsuits, which are plural, involving screenwriter R. Lance Hill, Amazon, and the remake of the 1989 ‘Roadhouse.' A cult classic, ‘Roadhouse was a starring vehicle for Patrick Swayze, produced by Joel Silver and directed by Rowdy Herrington.Then, Terry shares an article by David Courtney, Ten Colorful Ways to Say It's Hotter Than Hades in Texas, featured in Texas Monthly. Research for this episode includes:Amazon, MGM Accuse Original ‘Road House' Screenwriter of Fraud in Countersuit By Ross A. Lincoln for TheWrap by Samantha Bergeson for IndieWirehttps://www.indiewire.com/news/breaking-news/road-house-screenwriter-sues-amazon-over-copyright-ai-use-1234958090/#:~:text=Lance%20Hill%2C%20who%20uses%20the,movie%20was%20released%20in%201989‘Road House' Rumble: Amazon Denies AI Used To Create Actors' Voices For Remake During Strike As Original Pic's Scribe Sues To Shut Down New Movie by Dominic Patten for Deadline Hollywood https://deadline.com/2024/02/road-house-lawsuit-amazon-copyright-1235839774/Ten Colorful Ways to Say It's Hotter Than Hades in Texas, which was featured in Texas Monthly. https://www.texasmonthly.com/being-texan/folksy-sayings-heat-weather/?utm_source=pocket_shared&utm_source=pocket_sharedThe PAGE International Screenwriting Awards sponsors the WRITERS' HANGOUT.Executive Producer Kristin OvernProducer Sandy AdomaitisProducer Terry SampsonMusic by Ethan Stoller
Road House is a 1989 American action film directed by Rowdy Herrington and produced by Joel Silver. The film stars Patrick Swayze, Ben Gazzara, Kelly Lynch and Sam Elliott. In the film, a bouncer at a newly refurbished roadside bar protects a small town in Missouri from a corrupt businessman.
On this week's podcast Richard Charschan joins us from Long Island, New York, where he is president of AcousticSmart Home Theater Interiors. Richard founded AcousticSmart for more than 25 years ago and has worked on some of the world's finest custom theaters and developed his own home theater seating and star ceiling products, as well. But just as interesting as that, he also helped create a new coffee table book called “Home Theater-ology” that will debut next month at CEDIA Expo in Denver. With insights from experts like Joel Silver on video calibration and Tony Grimani on acoustics, “Home Theaterology” provides valuable knowledge to inspire designers and architects to embrace the resurgent trend of home theaters.The book is cosponsored by prominent industry-leading brands, such as Kaleidescape, Barco Residential, Screen Research, CEDIA, CEDIA Expo (Emerald), Storm Audio, Meridian, JBL Synthesis, D-Tools, TPI, 360 Power Quality, and MadVR, among others.Visit hometheaterology.net to preorder.
On the latest CE Pro Podcast, Joel Silver of ISF, Jason Dustal of Murideo and AVPro Edge, and Robert Zohn of Value Electronics, explain how even simple calibration adjustments can create happier clients.
Eric's Perspective : A podcast series on African American art
In this episode, Eric sits down with actress, filmmaker & artist Angela Robinson Witherspoon. They discuss her early exposure to art and her experience of living in the Netherlands as young girl. How she followed her heart to live a life in the arts. Studying art, taking jobs where she used her artistic abilities, being a model in New York City, to studying acting. How she broke into the industry and has since cultivated such a long-lasting career as an actress in Hollywood! She reflects on her beautiful marriage to the late celebrated comedian John Witherspoon and the life they built together… including their two talented sons, their art collection, owning an art gallery and being patrons of the arts. How she continues to make art herself and has evolved into a filmmaker. They discuss her full-length documentary about artist Betye Saar and her passion to make more films that shed light on African American artists. Her exciting travels, philanthropic initiatives and mission of continuing to honor John Witherspoon's legacy through their foundation..! Guest Bio: Angela Robinson Witherspoonstarted her acting journey when she was cast in her first speaking role opposite Eddie Murphy in "48 Hours," by producer Joel Silver. Walter Hill was the director and he subsequently cast Angela in another movie, "Crossroads", opposite Ralph Macchio. In 1983, she traveled to Cuernavaca, Mexico where she spent five weeks filming "Jungle Warriors" for German director, Ernst R. Von Theumer. She did all her own stunts and had the pleasure of working with Dennis Hopper and firing an AK-47.In 1985, she traveled to the Cannes Film Festival and had dinner with director Howard Avedis, who later cast her in "Kidnapped," a Warner Bros. film starring David Naughton, where she would meet her future husband, John Witherspoon. Angela continued to work in film and television in "Ugly Betty", "Joan of Arcadia", "Soul Plane", "The Wayans Bros.", "L.A. Law", "Criminal Minds," "My Crazy Ex-Girlfriend," "Black Jesus," and a starring role in "The Moment After."She later married legendary comedic actor John Witherspoon on June 27, 1988 and they had two children together. Her husband passed away on October 29, 2019, aged 77.In 2013, she directed her first short film, "Last Call". Soon after, she produced and directed a short documentary on artist Betye Saar. She then wrote and directed the short silent film "Sunset & Neverland." She also produced and directed "Wish Me Luck." Angela's first documentary was well received in 2017. In 2021, she looks forward to releasing a full-length documentary about artist Betye Saar, which she is producing and directing. She is currently working with young talent such as Juhahn Jones, Maia Modeste and director Abdul Malik Abbott. Angela is a dynamic force and devoted patron of the arts and supporters of artists through The Angela and John Witherspoon Family Foundation; who's mission is to help artist's in their time of need. About Eric's Perspective: A podcast series on African American art with Eric Hanks — African American art specialist, owner of the renowned M. Hanks Gallery and commissioner on the Los Angeles County Arts Commission; offers his perspective on African American art through in-depth conversations with fellow art enthusiasts where they discuss the past, present & future of African American art.For more on Eric's Perspective, visit www.ericsperspective.comLISTEN ON: Apple Podcasts: https://apple.co/2B6wB3USpotify: https://spoti.fi/3j6QRmWGoogle Podcasts: https://bit.ly/3fNNgrYiHeartRadio: https://ihr.fm/2KtYGXv Pandora: https://pdora.co/38pFWAmConnect with us ONLINE: Visit Eric's Perspective website: https://bit.ly/2ZQ41x1Facebook: https://bit.ly/3jq5fXPInstagram: https://bit.ly/39jFZxGTwitter: https://bit.ly/2OMRx33
The Video Store is back, and this time it's personal... Charlie and Guy Davis are here to break down the filmography of American producer Joel Silver. A man often parodied, and blacklisted from multiple production houses, he also produced some of the most iconic films of the 80s and 90s. In the first episode of Silver's Streak, Charlie and Guy are starting things off with a bang with Lethal Weapon 2, and Roadhouse! Keep up with all things TOFOP and more here
Welcome to Director Watch! On this AwardsWatch podcast, co-hosts Ryan McQuade and Jay Ledbetter attempt to breakdown, analyze, and ultimately, get inside the mind of some of cinema's greatest auteurs. In doing so, they will look at their filmographies, explore what drives them artistically and what makes their decision making process so fascinating. Add in a few silly tangents and a fun game at the end of the episode and you've got yourself a podcast we truly hope you love. On episode 50 of the Director Watch Podcast, the boys are joined by the host of The Waffle Press Movie Podcast, Diego Crespo to discuss the latest film in their Tony Scott series, The Last Boy Scout (1991). After the mild success of Days of Thunder, Tony Scott transitioned away from the protective arms of producers Don Simpson and Jerry Bruckheimer to move over to a Joel Silver project with a script pinned by screenwriter Shane Black, who was coming off of writing Lethal Weapon and turning that into a franchise. But Black was kicked off the second installment of Lethal Weapon, and the script for The Last Boy Scout, a buddy action sports comedy about a private eye and a former pro Quarterback teaming up to stop corruption involving professional football and the US government, became the hottest thing in Hollywood (Black earned a record $1.75 million for the script, with over a $1 million guaranteed up front), and intrigued Scott immensely because of Black's overall vision. Led by the impeccable duo of Bruce Willis and Damon Wayans, this dark, even dystopian vision of 1990s Los Angeles is a relic of 90s action films with tons of politically incorrect, problematic moments of humor that is a cult classic and is a wildly impressive piece of filmmaking within Scott and Black's careers. Ryan, Jay, and Diego break down this complicated film, their history with it, kid acting, the body of work by its two stars Willis and Wayans, their relationship with the game of football, and why we don't get movies like this made anymore. You can listen to the Director Watch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music and more. This podcast runs 2h03m. The guys will be back next week to continue their series on the films of Tony Scott with a review of his next film, True Romance. You can rent it via iTunes and Amazon Prime rental in preparation for the next episode of Director Watch. Till then, let's get into it. Music: MUSICALIFE, from Pond5 (intro) and “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).
After Kris jumpstarts a new Cinema Shame season, comic creator Troy-Jeffrey Allen joins James and Allan in the Shamequarters to discuss 1988's ACTION JACKSON (RIP Carl Weathers). Follow us on Twitter @CinemaShame, Bsky @cinemashame.bsky.social, and on Instagram @CinemaShamePodcast.
It's Die Hard on a plane! Again! But a bigger plane than Passenger 57!This week on the show, Phil and Liam discuss Stuart Baird's popular 1996 action-thriller EXECUTIVE DECISION starring Kurt Russell and Steven Seagal* (*kinda). Is this one of the best ‘Die Hard on a blank' films of the era? The guys aim to find out! When fanatical terrorists take control of a 747 passenger plane heading from Athens, Greece to Washington D.C., Army intelligence consultant Dr. David Grant (Kurt Russell) informs the pentagon of his suspicion that the terrorists are planning to use a stolen nerve-agent known as DZ-5 to launch a massive attack on the Eastern seaboard. If Grant is correct, this means that the government may have to shoot the plane down before it reaches US airspace, so in a last-ditch attempt to avoid this scenario and save the lives of the 400 passengers on board, Grant reluctantly becomes part of a daring mission led by Special Forces Lt. Col Austin Travis (Steven Seagal), whereby a small strike team will use an experimental aircraft to board the 747 in mid-air, and attempt to take back control of the hijacked plane. This film is positively overflowing with ‘DIE HARD DNA', from the premise to the personnel, which includes the likes of producer Joel Silver, editor Frank J. Urioste, and actress Mary Ellen Trainor, amongst others. The guys discuss how this movie raises the stakes of the ‘Die Hard on a Plane' paradigm through the utilization of a unique selling point: the treacherous mid-air transfer of a counter-assault team that includes the likes of John Leguizamo, Joe Morton, BD Wong, Whip Hubley and Oliver Platt. Despite the film's slam-bang entertainment value and multi-cultural American cast, the guys still have to wrestle with its uncomfortable racial politics, in particular its portrayal of the fictional Middle-Eastern terrorist group who are led by legendary British thespian Sir David Suchet as ‘Nagi Hassan'. They also discuss the low-key brilliance of Halle Berry's performance as the courageous flight attendant Jean, Kurt Russell's ingenious chat-up lines, and the wider symbolic significance of a key character's death… The film's excellent ensemble cast makes for a highly competitive edition of the ‘Die Hard Oscars', followed by a fun ‘Double Jeopardy' trivia quiz that will be of particular interest to fans of the late, great, perennially missed JT Walsh! Fasten your seatbelts folks! EXECUTIVE DECISION trailer:https://www.youtube.com/watch?v=_W4wp9_HYm4 At the time of release, EXECUTIVE DECISION is streaming on Tubi and is available to rent or buy on Amazon Prime Video, Apple/iTunes, YouTube, Fandango and all the usual platforms. Support this podcast at — https://redcircle.com/die-hard-on-a-blank/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
We're on the road (house) again with the remake! Swapping the Kansas City suburbs for the Florida Keys, this Amazon MGM release - exclusively on the Prime Video streaming platform - trades Patrick Swayze for Jake Gyllenhaal as the man named Dalton who gets hired to clean up a rowdy bar. Produced once again by Joel Silver, this time around The Bourne Identity and Edge of Tomorrow director Doug Liman is behind the camera, while Daniela Melchoir, Jessica Williams, Billy Magnussen, and Conor McGregor round out the cast. Amazon claims the remake has been seen by over 50 million worldwide viewers on the service over its first two weekends, making it the studio's “most-watched produced film debut ever on a worldwide basis.” But is this Road House a tired retread or does it hold the keys to a new franchise? For more geeky podcasts visit GonnaGeek.com You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com You can write to Rum Daddy directly: rumdaddylegends@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com
Sean Comer and Mark Radulich present their Lethal Weapon Movie Series 87 98 Review. Lethal Weapon is an American buddy cop action-comedy media franchise created by Shane Black. It focuses on two Los Angeles Police Department (LAPD) detectives, Martin Riggs and Roger Murtaugh. The franchise consists of a series of four films released between 1987 and 1998 and a television series which aired from 2016 to 2019. The four films were directed by Richard Donner and also share many of the same core cast members, while the television series is a reboot with different actors. Although the first film was not explicitly a comedy, the later films and the television series gradually became comedic in nature.Lethal Weapon is a 1987 American buddy cop action-comedy film directed and co-produced by Richard Donner, written by Shane Black, and co-produced by Joel Silver. It stars Mel Gibson and Danny Glover alongside Gary Busey, Tom Atkins, Darlene Love, and Mitchell Ryan.In Lethal Weapon, a pair of mismatched LAPD detectives—Martin Riggs (Gibson), a former Green Beret who has become suicidal following the death of his wife, and veteran officer and family man Roger Murtaugh (Glover)—work together as partners.The film was released on March 6, 1987. Upon its release, Lethal Weapon grossed over $120 million (against a production budget of $15 million) and was nominated for the Academy Award for Best Sound. It spawned a franchise that includes three sequels and a television series, with a fourth sequel in development.A proposed fifth installment had been in talks and development since 2007, but has yet to enter production.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich Instagram: markkind76
Editor - Doc Crotzer, ACE ROAD HOUSE editor Doc Crotzer ACE got his first real studio feature film experience cutting Doug Liman's Sci-Fi/Fantasy film, CHAOS WALKING (2021). Three years later Doug would tap Doc once again to take the film fight game to another level for Liman's latest entry in the action genre. Directed by Doug Liman and produced by Joel Silver, this remake of the 1989 cult classic sees ex-UFC fighter Dalton take a job as a cooler at a Florida Keys roadhouse, only to discover that this paradise is not all it seems. DOC CROTZER, ACE A filmmaking Swiss Army knife, Doc has directed, produced, and edited studio feature films, award winning television series, and immersive documentaries. He draws from his wide-ranging experience in production and postproduction to tell cinematic stories that remain grounded in human emotion, regardless of the medium. His encyclopedic knowledge of editing allows him to shoot efficiently and creatively, while inspiring confidence from collaborators on both sides of the camera. His favorite part of filmmaking is collaborating with actors and crew to create something in which the sum is truly greater than any of its parts. Doc's instincts and work ethic are trusted at the highest levels, often quietly working as a “fixer” on studio films and TV shows that need fresh eyes to reach their fullest potentials. A musician himself, Doc has edited over 100 music videos and excels at bringing stories to life that incorporate music and visual effects. Doc was nominated for an Emmy® for his work directing a web series and nominated for ACE and HPA awards for his work on the TV show Glee. He is a proud member of the Director's Guild of America, American Cinema Editors, and the Television Academy of Arts & Sciences. Editing Road House In our discussion with Road House editor Doc Crotzer ACE, we talk about: Being "Bourne" again with Doug Liman Giving fight scenes the ol' Hollywood pass Taking 25% of a beating The battle in front of the bands Managing big personalities on screen and off The Credits Visit Extreme Music for all your production audio needs See the Rough Cut come to life over at the Frame.io blog See the latest new features in Avid Media Composer Hear Doc discuss his work on CHAOS WALKING and SHOTGUN WEDDING Listen to director Doug Liman share his thoughts on filmmaking Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
This week on Nerd's Talking The Podcast, Lafayette and Carlos dive into a plethora of topics! First up, they tackle the classic film "Roadhouse." Originally released in 1989 and now with a new iteration available on Amazon Prime Video, "Roadhouse" follows ex-UFC fighter Dalton as he takes on the role of a bouncer at a Florida Keys roadhouse, only to uncover the darker side of paradise. Directed by Doug Liman and starring Jake Gyllenhaal, Daniela Melchior, Conor McGregor (in his feature film debut), J. D. Pardo, Arturo Castro, and Billy Magnussen, this remake promises to deliver action-packed entertainment. Joel Silver, the producer of the original film, returns to produce this new version. Next, Lafayette and Carlos discuss "3 Body Problem," an American science fiction television series on Netflix. Created by David Benioff, D. B. Weiss, and Alexander Woo, the show is loosely based on the Hugo Award-winning Chinese novel "The Three-Body Problem" by Liu Cixin. This series marks the second live-action adaptation after the 2023 Chinese television series. The podcast also covers "Ricky Staniky" on Amazon and "Damsel" on Netflix, providing their unique take on these offerings. Additionally, Lafayette and Carlos bring you up to speed on the latest in pop culture news, ensuring you're in the know about all things entertainment. Tune in for these discussions and much more on this week's episode of Nerd's Talking The Podcast! --- Support this podcast: https://podcasters.spotify.com/pod/show/nerdstalking/support
Sean Comer, Andrew Graham and Mark Radulich present our Road House 1989/2024 Comparison and Review!Road House is a 1989 American action film directed by Rowdy Herrington. The film stars Patrick Swayze, Ben Gazzara, Kelly Lynch, and Sam Elliott. Its plot follows a bouncer at a newly refurbished roadside bar who protects a small town in Missouri from a corrupt businessman. The film has gone on to be a cult classic, being voted the most watched film on cable in 2020.Road House is a 2024 American action film directed by Doug Liman from a screenplay by Anthony Bagarozzi and Chuck Mondry, and is a remake of the 1989 film. The film stars Jake Gyllenhaal, Daniela Melchior, Conor McGregor (in his feature film debut), J. D. Pardo, Arturo Castro and Billy Magnussen. Joel Silver produces the film, as he did the original.Road House had its world premiere for March 8, 2024, at South by Southwest as the opening night film, and was released by Amazon MGM Studios via Prime Video on March 21, 2024. The film received mixed reviews from critics, with some praising the performance of Gyllenhaal and others criticizing the script and the extensive use of CGI for fight sequences.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulichInstagram: markkind76
Chris and Taylor review the 2024 action film, Road House, directed by Doug Liman from a screenplay by Anthony Bagarozzi and Chuck Mondry, and is a remake of the 1989 film. Ex-UFC fighter Dalton takes a job as a bouncer at a Florida Keys roadhouse, only to discover that this paradise is not all it seems. The film stars Jake Gyllenhaal, Daniela Melchior, Conor McGregor (in his feature film debut), J. D. Pardo, Arturo Castro and Billy Magnussen. Joel Silver produces the film, as he did the original.Follow us on:Instagram: https://www.instagram.com/thepotentialpodcast/Facebook: https://www.facebook.com/thepotentialpodcastTwitter: https://twitter.com/thepotentialpodSupport us on Patreon:patreon.com/thepotentialpodcastThanks to our sponsor: LetsGetCheckedLet'sGetChecked: Get 25% off your health test at trylgc.com/potential and enter promo code POTENTIAL25 ★ Support this podcast on Patreon ★
In the early 90's, Shane Black was the highest paid screenwriter in Hollywood, Bruce Willis one of the highest paid action stars, and Tony Scott was quickly becoming the most sought after director when it came to spectacle. As we close out "football season," we breakdown whether or not 'The Last Boy Scout' was worth the $43 million dollar price tag.Thank you for listening! Don't forget to rate & subscribe. New episodes bi-weekly. Also available on YouTube.
Paris Hilton's lost BFF Nate Runkel is with us for MTV's Movie Life: House Of Wax, 5 episodes of promotional material for a movie you did not see. The rare one season show that failed on multiple fronts. We'll find out how much Paris Hilton loves animals, how much Nate loves Paris Hilton, how much Derick loves Elisha Cuthbert and how much Chad Michael Murray loves Christmas.
RMR 0246: Special Guest, Jacob Coakley, of the Cluedunnit Podcast, joins your hosts Chad Robinson and Lizzy Haynes for the Retro Movie Roundtable as they revisit Who Framed Roger Rabbit? (1988) [PG] Genre: Comedy, Crime Starring: Bob Hoskins, Christopher Lloyd, Joanna Cassidy, Charles Fleischer, Stubby Kaye, Alan Tilvern, Richard LeParmentier, Lou Hirsch, Betsy Brantley, Joel Silver, Paul Springer, Richard Ridings, Edwin Craig, Lindsay Holiday, Mike Edmonds Director: Robert Zemeckis Recorded on 2023-12-13
Welcome back to Unclear and Present Danger! It's our first episode of the new year and we're here with a pretty fun movie — “Executive Decision,” directed by Stuart Baird, produced by Joel Silver and starring Kurt Russell, Halle Berry, John Leguizamo, Oliver Platt, Joe Morton, Steven Seagal and many others. Music by, as you might expect, Jerry Goldsmith. In “Executive Decision,” an intelligence analyst played by Russell and a group of commandos, led by Seagal, must infiltrate a passenger jet bound for Washington DC that has been hijacked by a terrorist group. On board the jet is enough nerve toxin to kill everyone on the eastern seaboard. Most of the film is a tense standoff on the airliner, as the commandos try to defuse the nerve bomb and take down the terrorists, while the terrorists move forward with their mission. The tagline for Executive Decision was “Five miles above the earth, an elite team of six men must make an air to air transfer, in order to save 400 lives on board a 747... and 40 million below.”You can find Executive Decision to rent or buy on iTunes and Amazon.Our next episode of the podcast will be on “The Substitute,” otherwise known as “Stand and Deliver if the teacher body-slammed the students.”Connor Lynch produced this episode. Artwork by Rachel Eck.Contact us!Follow us on Twitter!John GanzJamelle BouieUnclearPodAnd join the Unclear and Present Patreon! For just $5 a month, patrons get access to a bonus show on the films of the Cold War, and much, much more. The latest episode of the Patreon is on “Marathon Man.”
“There's something out there waiting for us, and it ain't no man. We're all going to die.”After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.Here's a hint at what we talk about:We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.Here are a few other points in our discussion: Memorable one-liners and quips from Schwarzenegger Contrast of the special forces team against the advanced alien Discussion of problematic Indigenous American and female character tropes Always hoping for more from Jesse “The Body” Ventura's character Predator succeeds at being an enthralling, action-packed cinema ride. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film Sundries Watch this on Apple or Amazon, or find other places at JustWatch Script Options Theatrical trailer Letterboxd Visit our ORIGINALS PAGE to find source material that movies we've talked about on the shows that are part of The Next Reel's family of podcasts were based on. Books, plays, video games, even other movies and TV series! By doing so, you can find a great read or something to watch, and help us out in the process as a portion comes back our way. Enjoy! Start your own podcast journey with the best host in the business. Try TRANSISTOR today! Want to upgrade your LETTERBOXD account? Use our PROMO CODE to get a DISCOUNT and help us out in the process! Join the conversation with movie lovers from around the world on The Next Reel's DISCORD channel! Here's where you can find us around the internet: The Web Letterboxd Facebook Instagram X YouTube Flickchart Check out poster artwork for movies we've discussed on our Pinterest page Pete Andy We spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked! You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE. Or buy or rent movies we've discussed on the show from our WATCH PAGE. Or sign up for AUDIBLE.
“There's something out there waiting for us, and it ain't no man. We're all going to die.”After the huge success of Rocky IV in 1985, screenwriters Jim and John Thomas saw an opportunity for another Rocky film where he'd have to fight an alien, calling it "Rocky vs Predator." They developed the idea into a script titled "Hunter" about a group of alien hunters looking for the most dangerous prey. Unable to get interest, they slipped it under producer Michael Levy's door who loved it. Levy brought it to producer Joel Silver who also loved it. Silver brought in action star Arnold Schwarzenegger, who suggested changing it from one man against the creature to a team for more dynamics. Director John McTiernan was hired for his first studio film. With a budget under $20 million and filming in the jungles of Puerto Vallarta, Mexico, Predator began production.Join us – Pete Wright and Andy Nelson – as we continue the 1988 Academy Awards Best Visual Effects Nominees series with a conversation about Predator.Here's a hint at what we talk about:We discuss the excellent creature design and visual effects that still hold up today in making the cloaked Predator feel dangerous and threatening. The story structure shifts cleverly from a military rescue mission to sci-fi horror when the alien arrives. We admire the directing style of McTiernan in generating tension and fear. Character dynamics are touched on, along with some problematic elements.Here are a few other points in our discussion:Memorable one-liners and quips from SchwarzeneggerContrast of the special forces team against the advanced alienDiscussion of problematic Indigenous American and female character tropesAlways hoping for more from Jesse “The Body” Ventura's characterPredator succeeds at being an enthralling, action-packed cinema ride. We have a great time talking about it, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins!Film SundriesWatch this on Apple or Amazon, or find other places at JustWatchScript OptionsTheatrical trailerLetterboxd5vd7KcUHE9aFPUjXwStS Visit our ORIGINALS PAGE to find source material that movies we've talked about on the shows that are part of The Next Reel's family of podcasts were based on. Books, plays, video games, even other movies and TV series! By doing so, you can find a great read or something to watch, and help us out in the process as a portion comes back our way. Enjoy!Start your own podcast journey with the best host in the business. Try TRANSISTOR today!Want to upgrade your LETTERBOXD account? Use our PROMO CODE to get a DISCOUNT and help us out in the process!Join the conversation with movie lovers from around the world on The Next Reel's DISCORD channel!Here's where you can find us around the internet:The WebLetterboxdFacebookInstagramXYouTubeFlickchartCheck out poster artwork for movies we've discussed on our Pinterest pagePete AndyWe spend hours every week putting this show together for you, our dear listener, and it would sure mean a lot to us if you considered becoming a member. When you do, you get early access to shows, ad-free episodes, and a TON of bonus content. To those who already support the show, thank you. To those who don't yet: what are you waiting for?Become a Member here: $5 monthly or $55 annuallyWhat are some other ways you can support us and show your love? Glad you asked!You can buy TNR apparel, stickers, mugs and more from our MERCH PAGE.Or buy or rent movies we've discussed on the show from our WATCH PAGE.Or sign up for AUDIBLE.
The holidays are upon us! Chris and Taylor go back to a holidays 80s classic (yes this is a Christmas movie) and review the 1987 buddy cop action film Lethal Weapon directed and co-produced by Richard Donner, written by Shane Black, and co-produced by Joel Silver. It stars Mel Gibson and Danny Glover alongside Gary Busey, Tom Atkins, Darlene Love, and Mitchell Ryan.In Lethal Weapon, a pair of mismatched LAPD detectives—Martin Riggs (Gibson), a former Green Beret who has become suicidal following the death of his wife, and veteran officer and family man Roger Murtaugh (Glover)—work together as partners.Follow us on:Instagram: https://www.instagram.com/thepotentialpodcast/Facebook: https://www.facebook.com/thepotentialpodcastTwitter: https://twitter.com/thepotentialpodSupport us on Patreon:patreon.com/thepotentialpodcastLet'sGetChecked: Get 25% off your health test at trylgc.com/potential and enter promo code POTENTIAL25 ★ Support this podcast on Patreon ★
Thirteen Ghosts, also known as THIR13EN Ghosts, is a 2001 supernatural horror film directed by Steve Beck in his directorial debut, and written by Neal Marshall Stevens and Richard D'Ovidio. Robert Zemeckis and Joel Silver served as producers. The film stars Tony Shalhoub, Embeth Davditz, Matthew Lillard, Shannon Elizabeth, Rah Digga, and F. Murray Abraham. The music for the movie was composed by John Frizzell. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733! Watch Thirteen Ghosts: https://amzn.to/3rzp7Rj Out this Month: Week 1: Shooting the Flames Week 2: Thirteen Ghosts Week 3: 13th Warrior Week 4: Top 13 X-Files Episodes Patreon: 13 Ghosts (original) Coming in November 2023: Wizard of Oz Return to Oz Patreon: Gateway Horror Poll (continued!) Get in Touch: Support us on Patreon: https://www.patreon.com/TheFilmFlamers Visit our Store: https://teespring.com/stores/thefilmflamers Twitter: https://twitter.com/TheFilmFlamers TikTok: https://www.tiktok.com/@thefilmflamers Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com Call our Hotline: 972-666-7733 Our Patrons: #ExiledTexan Alex Mendoza Anthony Criswell Ashlie Thornbury BarbieDolly BattleBurrito BelleBeignet Benjamin Gonzalez Bennett Hunter Big Dave Bonnie Jay BreakfastChainsawMassacre Call me Lestat CenobiteBetty Christopher Nelson CJ Mcginnis Dan Alvarez Gia-Ranita Pitt Gillian Murtagh GlazedDonut GWilliamNYC Incognicat Irwan Iskak James Aumann Jessica E Josh Young Kimberly McGuirk-Klinetobe Laura O'Malley Lisa Libby Livi Loch Hightower Mary Matthew McHenry McKenna Hirschmann Nicole McDaniel Nikki (phillyenginerd) Niko Allred Orion Yannotti Paul Perez Penelope Nelson random dude Robert B. Robert Eppers Rosieredleader Ryan King Sean Homrig The Dean Swann William Skinner Sweet dreams... "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio
linktr.ee/CatchingUpOnCinema This September is Masterclass month at Catching Up On Cinema! September is the anniversary month of Catching Up On Cinema, and this year we're celebrating the completion of 5 years of weekly podcasting. For this year's Masterclass, Trevor and Kyle will be reviewing all 4 films in Richard Donner's Lethal Weapon series of films. First up this month is a solo review from Trevor of the first film in the series, Lethal Weapon (1987)! Directed by Richard Donner, written by Shane Black, and produced by Joel Silver, the first Lethal Weapon (1987) is a somewhat darker and moodier experience than the more colorful and energetic sequels, however the chemistry of cast and crew alike are very much evident from minute one of this, the very first in what would become one of the most beloved of buddy cop film franchises. Starring Mel Gibson as Martin Riggs, and Danny Glover as Roger Murtaugh, Lethal is far from the first buddy cop/odd couple films, however many are quick to point out that while it may not have pioneered the genre, it very well may have perfected it. Despite occasionally dipping into seriously dark subject matter, Richard Donner's direction, and the ever growing cast of immensely affable characters throughout the Lethal Weapon series, exhibit a precious, familial warmth that feels wholly genuine and proves to be the series calling card. While not as bombastic or violent as John McTiernan's, Die Hard (1988), or indeed any number of other 1980's action films, Lethal Weapon sets itself apart from the rest by squarely placing its focus on characterization and character development. While Lethal Weapon is a great film in and of itself, it is the first, necessarily darker chapter, in a story that spans 4 films and 10 years, and as a result, this reviewer feels it ultimately benefits greatly from the existence of characterization and story beats contained in its sequels. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema
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