Podcast appearances and mentions of John Savage

Join Dan and Tom as they give you their no-spoiler review of the just-released spy movie, THE AMATEUR, starring Rami Malek and Laurence Fishburne.  Our goal is to give you the information you need to see if watching THE AMATEUR is worth your time and money. Listen to find out what we think. THE AMATEUR is a remake of the 1981 movie which starred John Savage. The cast is excellent with Malek, Fishburne, Rachel Brosnahan, Julianne Nicholson, Michael Stuhlbarg, Jon Bernthal, Holt McCallany, Adrian Martinez, and more. Some of the topics we discuss include in this review are: ·         Enough of the plot to get you started, without spoilers ·         The cast and their roles ·         Do we think Rami Malek was better in this role than when he played Safin in NO TIME TO DIE? ·         The direction, cinematography, and production design ·         Where is the SKY POOL? ·         Our favorite scenes (while not spoiling anything) ·         The pacing of the movie ·         What worked ·         What didn't ·         Does it work on IMAX? ·         And More … We've also included some comments from other people who watched this movie when we did.  Listen to find out what they say. Tell us what you think about our review of THE AMATEUR (2025) So, take a listen and let us know what you think.  Have you previously heard of this movie or even watched it?  If not, did this episode entice you to watch it? If you have seen it, do you agree with Dan and Tom's opinions?  Dan and Tom disagree a little about this movie.  Who do you agree with? And, have you seen the 1981 original?  Which version do you like best? Let us know your thoughts, ideas for future episodes, and what you thought of this episode. Just drop us a note at info@spymovienavigator.com.  The more we hear from you, the better the show will surely be!  We'll give you a shout-out in a future episode!   You can check out all of our CRACKING THE CODE OF SPY MOVIES podcast episodes on your favorite podcast app or our website. In addition, you can check out our YouTube channel as well.   Episode Webpage: https://bit.ly/43LNHit

JIM SNIDERO “FOR ALL WE KNOW” ca. 2023For All We Know; Naima; You Go To My Head.Jim Snidero (sa) Peter Washington (b) Joe Farnsworth(dr) BILLY FOX “THE UNCLE WIGGLY SUITE” Brooklyn, NY, October 14 and November 13 & 20, 2004Uncle Wiggly SuitePercy Pursglove (tp) Paul Faatz (cl,b-cl,bar) John Savage (as,fl) Gary Pickard, Arun Luthra (ts,sop) Deanna Witkowski (p) Skye Steele (vln) Christopher Hoffman (cello) Mark Dresser, Scott Shaeffer (b) John O'Brien (d) Billy Fox (cga,triangle) Danny Katz (shamisen) ANDREW CYRILLE / BILL MCHENRY “PROXIMITY” Brooklyn, NY, November 16 & 17, 2014Bedouin woman, Fabula, Proximity, Let me tell you this, SeasonsBill McHenry (ts) Andrew Cyrille (d) Continue reading Puro Jazz 18 de marzo, 2025 at PuroJazz.

JIM SNIDERO “FOR ALL WE KNOW” ca. 2023For All We Know; Naima; You Go To My Head.Jim Snidero (sa) Peter Washington (b) Joe Farnsworth(dr) BILLY FOX “THE UNCLE WIGGLY SUITE” Brooklyn, NY, October 14 and November 13 & 20, 2004Uncle Wiggly SuitePercy Pursglove (tp) Paul Faatz (cl,b-cl,bar) John Savage (as,fl) Gary Pickard, Arun Luthra (ts,sop) Deanna Witkowski (p) Skye Steele (vln) Christopher Hoffman (cello) Mark Dresser, Scott Shaeffer (b) John O'Brien (d) Billy Fox (cga,triangle) Danny Katz (shamisen) ANDREW CYRILLE / BILL MCHENRY “PROXIMITY” Brooklyn, NY, November 16 & 17, 2014Bedouin woman, Fabula, Proximity, Let me tell you this, SeasonsBill McHenry (ts) Andrew Cyrille (d) Continue reading Puro Jazz 18 de marzo, 2025 at PuroJazz.

Actor John Savage joins Frank Mackay on this episode of The Frank Mackay Show!

This week's pick was made supporter Dylan, who's previous picks have ranged from the gritty realism of Training Day to the surreal comedy The Big Lebowski. And this pick is going back to 1978 on on the serious side of the scale with, The Deer Hunter.The Deer Hunter was an ambitious and challenging endeavor, driven by director Michael Cimino's meticulous vision. Initially conceived as a smaller war film, the project expanded dramatically as Cimino rewrote the script, emphasizing the emotional and psychological toll of war. The film's harrowing Russian roulette sequences, which became its most infamous hallmark, were not based on historical accounts but rather intended as a metaphor for the randomness and brutality of war. The production faced difficulties from the start, with Cimino's insistence on authenticity leading to grueling shoots in both the U.S. and Thailand, where the Vietnam War sequences were filmed. The cast, led by Robert De Niro, Christopher Walken, and John Savage, underwent intense training to embody their roles convincingly, even immersing themselves in the culture of steelworkers in Pennsylvania before filming.The film's Thailand shoot was particularly grueling, with cast and crew working under extreme conditions to capture the harrowing war sequences. Controversy also surrounded the film's depiction of the Vietnam War, with critics arguing that its portrayal of the Viet Cong was one-sided and sensationalized. Additionally, Cimino's perfectionism led to a chaotic production schedule, frequently going over budget and over time. However, despite these challenges, The Deer Hunter became a landmark film, earning widespread critical acclaim and winning five Academy Awards, including Best Picture and Best Director for Cimino. The film's haunting themes, striking cinematography, and raw performances solidified its place as one of the greatest war films ever made, though its troubled production foreshadowed the excesses that would later plague Cimino's career.If you enjoy the show we have a Patreon, so become a supporter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Trailer Guy Plot SummaryIn a world where friendship is forged in steel and tested by war… three men embark on a journey that will change them forever. From the quiet streets of a Pennsylvania mill town to the unforgiving jungles of Vietnam, they will face horrors beyond imagination. Captured. Tortured. Forced to play a deadly game where the stakes are their own lives. As they return home, shattered and haunted, one man will risk everything for the brother he left behind. Starring Robert De Niro, Christopher Walken, and Meryl Streep—this is The Deer Hunter. A story of survival, sacrifice, and the unbreakable bonds of friendship.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠

Controversial, brutal, long... sexy? Let's find out on this week's episode where the fellas talk about Michael Cimino's The Deer Hunter. Brendan and Jason talk all about the controversial Russian Roulette scenes, Meryl Streep wrangling an Oscar nomination out of a paper-thin role, the struggle to get John Cazale in the film, the wedding scene that seemed to bore most people... does it hold up better today? All this and more in this week's show! Next week: We hate-drich! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com   Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) The Deer Hunter stars Robert DeNiro, Christopher Walken, Meryl Streep, John Savage, George Dzundza, Chuck Aspegren and John Cazale; directed by Michael Cimino. Learn more about your ad choices. Visit megaphone.fm/adchoices

RMR 0301: Special Guest, Joanne Butcher, joins your hosts, Chad Robinson and Russell Guest for the Retro Movie Roundtable as they revisit Do the Right Thing (1989) [R] Genre: Drama, Tragedy   Starring: Danny Aiello, Ossie Davis, Ruby Dee, Richard Edson, Giancarlo Esposito, Spike Lee, Bill Nunn, John Turturro, Paul Benjamin, Frankie Faison, Robin Harris, Joie Lee, Miguel Sandoval, Rick Aiello, John Savage, Samuel L. Jackson, Rosie Perez, Roger Guenveur Smith, Steve White, Martin Lawrence, Leonard L. Thomas, Christa Rivers, Frank Vincent, Luis Antonio Ramos, Richard Habersham, Gwen McGee, Steve Park, Ginny Yang   Directed by: Spike Lee Recorded on 2024-12-26

Some very sad news out of the Southeastern United States in the aftermath of Hurricane Helene. An elderly couple was killed when a tree fell onto their house and a mother and her newborn twins were also killed during the storm. This English lesson will help you if you're preparing for the IELTS or TOEFL or just if you want to have better English conversations.

Talib Jasir, the visionary behind Afro's & Audio Podcast Festival, joins us to discuss the transformative impact of giving underrepresented podcasters a stage. Paula Sima, host of "Talk Shit With P," shares her powerful story of how podcasting became a therapeutic outlet, helping her and countless others navigate creative journeys and mental health challenges. This episode uncovers the crucial role of creating safe spaces where diverse stories can thrive and resonate.From groundbreaking hip-hop artist and DJ Mr. Al Pete to a vibrant panel of African podcasters, we explore the rich tapestry of voices that make up the global podcasting community. Hear personal insights from creators in Tanzania, Nigeria, Kenya, Zambia, Rwanda, and Senegal, as they prepare to bring their unique perspectives to a forthcoming international conference.. Afros & Audio Festival. Our guests reveal how podcasting serves as a bridge, connecting diverse cultures and fostering global understanding.Finally, we journey from the cultural vibrancy of South Africa to the innovative spirit of the Southern United States. John Savage's efforts to empower African communities through podcasting resources take center stage, alongside the burgeoning storytelling scene in the American South. As we gear up for the sixth annual Afros & Audio Podcast Festival in Baltimore, we highlight the festival's importance in bringing the Black podcasting community together. Prepare for an event filled with panels, workshops, and networking opportunities designed to elevate every creator's game and celebrate the power of diverse voices in podcasting.Get 10% OFF with code PS24AFAU https://www.afrosandaudio.com/Talk yo sh!t… Sh!t-Talker!!Support the showFOLLOW US ON;Instagram: https://www.instagram.com/talkshitwithpTwitter: https://twitter.com/TalkshitwithpFacebook: https://www.facebook.com/TalkwhitwIthpTiktok: https://www.tiktok.com/@TalkshitwithpShop IG: https://www.instagram.com/Talkshitwithp.shopLEAVE US A REVIEW ON APPLE PODCAST: https://podcasts.apple.com/us/podcast/talk-shit-with-p/id1509470001AND SUBSCRIBE TO OUR YOUTUBE CHANNEL:https://www.youtube.com/@TalkshitwithpSupport The Show (whatever you can)Cashapp: https://cash.app/$TSWP20Patreon: https://www.patreon.com/TswpBuymecoffee: https://www.buymeacoffee.com/talkshitwithpAmazon Wishlist: https://www.amazon.com/hz/wishlist/ls/2M9Q4HNKRO2WA?ref_=wl_shareTo Learn more on my story;https://flow.page/tal...

We review White Squall (1996) on movie podcast The Collector's Cut. White Squall is directed by Ridley Scott and stars Jeff Bridges, Caroline Goodall, John Savage, Scott Wolf, Jeremy Sisto patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/

Multi award-winning filmmaker and actor Harley Wallen has starred in over 40 feature films and TV shows with legendary stars such as Tom Sizemore, Tara Reid and John Savage among many others.He started his journey as a Martial Artist early with Judo at age 7 and is now a 5th degree black belt. Harley also spent time learning other arts (Jiu-Jitsu, Tae Kwon - Do black-belts as well) and Mixed Martial Arts. After retiring from professional MMA in 2015 he still stays active as the color commentator for Warrior Xtreme Combat. His other love at a young age was dance as he was an outstanding break dancer in his teen years.  His sheer talent and skill is what landed him his first opportunity in acting as a dancer at the syndicated Swedish TV cult hit 'Solstollarna'! Soon after, he realized he was bitten by the acting bug. Harley then moved from Sweden to the United States to boldly pursue his dreams. After a short stint these plans got sidetracked by business opportunities as Harley climbed various career ladders.  https://www.paintedcreekproductions.com/  The Douglas Coleman Show VE (Video Edition) offers video promotional packages for authors. Please see our website for complete details.  http://douglascolemanshow.com  Please help us to continue to bring you quality content by showing your support for our show.  https://fundrazr.com/e2CLX2?ref=ab_eCTqb8_ab_31eRtAh53pq31eRtAh53pq

Please welcome to our show the immensely talented Italian director and actress, Ilaria Borrelli, who is also a human rights activist. In fact, much of Ilaria's activism is reflected in her work, often with an emphasis on the rights of woman and young girls. I met Ilaria at the Italian Cultural Institute in Los Angeles, when she was speaking about her film, “The Goat,” about an 11-year-old pregnant orphan forced into marriage in her small Ethiopian village, only to escape with her goat, which provides nourishment, companionship, and even friendship throughout her difficult journey to find her her father, and ultimately peace. The film stars Mira Sorvino and John Savage, along with young Egyptian Tik Tok star, Jessica Hosam. Ilaria has been behind some of the most prolific films throughout her career, including “Life Is Beautiful,” and “A Girl from the Brothel,” among others. We will talk with her about her adventures filming in often dangerous condition, her life's work as an actress and eventually behind the camera, and how it all began in Naples, Italia. She will also discuss her intense interest in spotlighting the dangers of human trafficking young girls, and how she hopes to shed a spotlight on the issue through her work. I'm honored to present Ilaria on our show, and thank you to my friend, Lorenza, for suggesting an interview. Please find my full conversation with Ilaria on all video and audio platforms of #DeborahKobyltLIVE, #LittleItalyPodcast, and #LittleItalyOfLAPodcast. I'm your host, #DeborahZaraKobylt, and it's a pleasure to have you join us.

n episode 296 of the Making Sales Social Podcast, Brynne Tillman welcomes John Savage, a seasoned expert with over 30 years of experience in engaging organizations and leaders across various industries. John shares his unique insights on mastering effective sales conversations. From understanding the cultural nuances of different "tribes" to the importance of authentic, client-focused dialogues, John delves into key principles that drive meaningful engagement and impactful results. Whether you're a seasoned professional or new to the field, this episode is packed with valuable strategies to elevate your sales approach and build stronger, more genuine connections. Tune in to discover how to make your sales truly social and effective.

In today's digitized world, our lives inexorably intertwine with cyberspace. We are exposed to damaging cyberattacks by foreign actors, local criminal gangs, and other nefarious entities. U.S. Naval War College's Derek Reveron and Brown University's John E. Savage join "Doorstep" co-hosts Nick Gvosdev and Tatiana Serafin to discuss their new book "Security in the Cyber Age" and how we can protect ourselves online. How can we mitigate the harmful effects of AI? What are governments around the globe doing to secure individual user rights? For more, please go to: https://carnegiecouncil.co/doorstep-reveron-savage

WTOP Entertainment Reporter Jason Fraley interviews actor John Savage as today marks the 45th anniversary of “The Deer Hunter” winning five Oscars, including Best Picture, on April 9th, 1979. They spoke in June 2020 when Savage guest starred in the CBS military drama series “SEAL Team." They also reflected on the legacy of “The Deer Hunter” where he played wounded Vietnam vet Corporal Steven Pushkov alongside Robert De Niro, Christopher Walken, John Cazale and Meryl Streep. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

WTOP Entertainment Reporter Jason Fraley interviews actor John Savage as today marks the 45th anniversary of “The Deer Hunter” winning five Oscars, including Best Picture, on April 9th, 1979. They spoke in June 2020 when Savage guest starred in the CBS military drama series “SEAL Team." They also reflected on the legacy of “The Deer Hunter” where he played wounded Vietnam vet Corporal Steven Pushkov alongside Robert De Niro, Christopher Walken, John Cazale and Meryl Streep. (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

JIM SNIDERO FOR ALL WE KNOW ca. 2023For All We Know; Naima; You Go To My Head.Jim Snidero (sa) Peter Washington (b) Joe Farnsworth(dr) BILLY FOX THE UNCLE WIGGLY SUITE Brooklyn, NY, October 14 and November 13 & 20, 2004Uncle Wiggly SuitePercy Pursglove (tp) Paul Faatz (cl,b-cl,bar) John Savage (as,fl) Gary Pickard, Arun Luthra (ts,sop) Deanna Witkowski (p) Skye Steele (vln) Christopher Hoffman (cello) Mark Dresser, Scott Shaeffer (b) John O'Brien (d) Billy Fox (cga,triangle) Danny Katz (shamisen) ANDREW CYRILLE / BILL MCHENRY PROXIMITY Brooklyn, NY, November 16 & 17, 2014Bedouin woman, Fabula, Proximity, Let me tell you this, SeasonsBill McHenry (ts) Andrew Cyrille (d) Continue reading Puro Jazz 02 abril 2024 at PuroJazz.

John Smeallie Youngs, known professionally as John Savage, is an American actor. He first rose to prominence in the late 1970s for his portrayals of troubled-but-sensitive characters in films like The Deer Hunter, The Onion Field, Hair The Godfather III, and SEAL Team. WikipediaBorn: 1949 (age 74 years), Old Bethpage, NYSpouse: Sandi Schultz (m. 1993–2002), Susan Youngs (m. 1967–1969)Children: Jennifer YoungsHeight: 5′ 7″Partner: Blanca Blanco (2008–)Link SEAL Team: https://wtop.com/entertainment/2020/06/john-savage-reflects-on-seal-team-the-deer-hunter-ahead-of-july-fourth/LINKS:https://nonprofitarchitect.org/combat-vet-vision/https://www.facebook.com/iconutilityservices/photos/pcb.3282304212030773/3282304082030786/https://www.youtube.com/channel/UCqvd5sUEtC9xkm7ejGNK5Zw/featuredhttps://www.facebook.com/aqseiberthttps://www.facebook.com/CombatVetVisionEmail: Aqseibert@yahoo.comThe Warrior Built Foundation - https://warriorbuilt.org/The PTSD Foundation of America - https://ptsdusa.org/Virtual Office(Come see me) Virbella.comSponsorsSitch Radio - https://sitchradio.com/If you would like to become a sponsor or advertiser Call Sitch Radio (714) 643-2500 X 1Be part of the solution or the problem.PTSD FOA Warrior Group Chaptershttps://ptsdusa.org/about-us/chapters/

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023 he came up to Grantham to sit on the WatkinSofa to chat about the importance of fitness in Estate Agency.

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023, he came up to Grantham to sit on the WatkinSofa to chat all things sales psychology in Estate Agency.

Faith ventures welcomes John Savage, founder of The Savage Group leadership consulting firm. John shares his journey from his early commitment to Christ to founding The Savage Group and his focus on equipping the saints for works of service in the marketplace and church. They discuss the challenges of navigating theological beliefs within leadership roles, the importance of building a team for organizational growth and impact, and the value of stewardship in faith ventures and personal development. John highlights the "7 C's" representing different learning styles, including individual coaching, organizational consulting, peer group cohorts, content publishing, capital raising, community building, and national conferences. Join us as we delve into the intersection of faith and leadership with John Savage in this insightful episode of Faith Ventures. Links: https://www.johnsavagegroup.com/

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023 he came up to Grantham to sit on the WatkinSofa to chat all things personal branding.

Host Llewellyn King and Co-host Adam Clayton Powell III discuss a new "primer" on cybersecurity policy and technology with its authors, Derek Reveron , chair of the National Security Affairs Department at the U.S. Naval War College and John Savage, professor emeritus of computer science at Brown University.

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023, he came up to Grantham to sit on the WatkinSofa to chat about his journey in Estate Agency.

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023, he came up to Grantham to sit on the WatkinSofa to chat all things mindset.

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023, he came up to Grantham to sit on the WatkinSofa to chat numerology in Estate Agency.

Robert DeNiro, Christopher Walken, John Savage and Meryl Streep lead a cast of greats in Michael Cimino's Vietnam war epic “The Deer Hunter.” --- Send in a voice message: https://podcasters.spotify.com/pod/show/stan-the-movie-man9/message

This week on the Insider Report, Dave Kuehn of the Oregon South Coast Fishermen is back with the latest fishing report. Then Kat and Bruce give the scoop on what is going on in the area, including plant grafting with John Savage; a Quarter Craze Benefit Auction for Santa's Workshop; CPR, AED, and First Aid […]

John Savage is the founder of Zero BS Estate Agency Podcast. He has over 60,000 followers across TikTok and Instagram and between all that, is an Estate Agent in Marlow In the Autumn of 2023, he came up to Grantham to sit on the WatkinSofa to chat all things 2024.

How about another 'TWO Part' @EchoChamberFP https://www.instagram.com/echochamberfp/ for you this week!?! 'Part ONE' has Netflix, Mad Chance Productions, Black Bear Pictures sports biopic, a thriller from Askari Productions & Buffalo 8, while BondIt Media Capital gets retro. We go action with Highland Film Group, Broken Open Pictures & RLJE Films and close with Signature Entertainment, June Street Studios & Lunar Field Christmas romance! Today we have: Nyad Watch Review: Here. https://youtu.be/opxIs08BIWU 50th Telluride Film Festival: 1st September 2023 Theatrical Release Date: 20th October 2023 Digital Release Date: 3rd November 2023 Director: Elizabeth Chai Vasarhelyi, Jimmy Chin Cast: Annette Bening, Jodie Foster, Rhys Ifans, Karly Rothenberg, Jeena Yi, Luke Cosgrove, Eric T. Miller, Garland Scott Running Time: 121 min Cert: 15 Trailer: Here. https://youtu.be/3anCgVSQb3Q?si=NdxuO8ljcNl58eMW Watch via Netflix: Here. https://www.netflix.com/browse?jbv=81447231 Website: Here. https://www.netflix.com/tudum/articles/nyad-release-date-photos-news ---------------- Screwdriver Watch Review: Here. https://youtu.be/eRFUznVabWQ 26th Dances with Films: 22nd June - 2nd July 2023 Digital Release Date: 10th November 2023 Director: Cairo Smith Cast: AnnaClare Hicks, Charlie Farrell, Milly Sanders, Matt Munroe Running Time: 94 min Cert: 15 Trailer: Here. https://youtu.be/eRFUznVabWQ Digital Platforms: Apple TV, Prime Video, Vudu, Vubiquity, Cox, and Comcast Website: Here. https://www.askariproductions.com/screwdriver ---------------- Showdown at the Grand Watch Review: Here. https://youtu.be/FPOBtuWRCHo Red Bank Indie Street Film Festival: 14th September 2023 US Theatrical Release Date: 10th November 2023 Digital Release Date: 13th November 2023 Director: Orson Oblowitz Cast: Terrence Howard, Dolph Lundgren, Piper Curda, John Savage, Amanda Righetti, Mike Ferguson, Jon Sklaroff Running Time: 92 min Cert: 15 Trailer: Here. https://youtu.be/zgqGUCBiatY Digital Platforms: Apple TV, Prime Video, YouTube, Google, Vudu, Vubiquity, Cox, and Comcast Watch via Apple TV+: Here. https://tv.apple.com/us/movie/showdown-at-the-grand/umc.cmc.3tr5c2tkbigp3s9yaedapvbku?ctx_at=6 Website: Here. https://www.signature-entertainment.co.uk/film/showdown-at-the-grand/ ---------------- Muzzle Watch Review: Here. https://youtu.be/Ih07yMMa04M Theatrical Release Date: 29th September 2023 Digital Release Date: 14th November 2023 Director: John Stalberg Jr Cast: Aaron Eckhart, Stephen Lang, Nick Searcy, Penelope Mitchell, Diego Tinoco, Luis Chávez, Grainger Hines, Sonny Burnette, Delissa Reynolds, Leslie Black, Danielle Munday, Kyle Smithson, Neftali Hernandez, David Pittinger Running Time: 100 min Cert: 15 Trailer: Here. https://youtu.be/By3TNfzUNsE Digital Platforms: Apple TV, Prime Video, YouTube, Google, Vudu, Vubiquity, Cox, and Comcast Watch via Apple TV+: Here. https://tv.apple.com/us/movie/muzzle/umc.cmc.2r0g8rboxtg5trcz6sgqom4r7 ---------------- Yuletide the Knot Watch Review: Here. https://youtu.be/2bV3BGbTSpg Digital Release Date: 13th November 2023 Director: Nanea Miyata Cast: Mary Antonini, Peter Porte, Kelley Jakle, Kelsey Scott, Celestina Harris, Steve Howard, Julia Sanford, Rachel Leyco, Adam Ambruso, Marcus Troy, Ryann Lanel Redman Credit: June Street Studios, Lunar Field, Signature Entertainment Genre: Romance, Christmas Running Time: 92 min Cert: PG Trailer: Here. https://youtu.be/TVgXOrmvvXM Listen to the Soundtrack via YouTube: Here. https://www.youtube.com/channel/UCh6DBbMgbiU9UXACkrpl6mA Buy the Soundtrack via Amazon: Here. https://www.amazon.com/music/player/albums/B0CKNGPTCD?*entries*=0&*Version*=1 Digital Platforms: Apple TV, Prime Video, YouTube, Google, Vudu, Vubiquity, Cox, and Comcast Watch via Apple TV+: Here. https://tv.apple.com/gb/movie/yuletide-the-knot/umc.cmc.1jxbj5gb026zvhfhwdtqeog0p ------------ *(Music) 'Da Joint' (Instrumental) by EPMD - 2020 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

Episode 47: THE DEER HUNTER This week, we discuss our final Vietnam film, Michael Cimino's 1978 epic The Deer Hunter. Robert De Niro, Christopher Walken, and John Savage play three steel town friends whose lives are changed forever when they depart for Vietnam. Also starring Meryl Streep, The Deer Hunter won the Best Picture Oscar for 1978. It ranks #23on our countdown.* Join us next week for Alfred Hitchcock's only Best Picture winner, Rebecca from 1940. Spoiler Alert: We talk about the movie in its entirety, so if you haven't yet seen it, check it out. Or not. That ball is in your court. *What is this list? We explain it in more detail in our Trailer and its Description, but as a high-level answer: we aggregated several different lists that rank the ninety-four winners of the Best Picture Academy Award in a rough attempt to get a consensus. It is not intended to be rigorous or definitive. It's just a framework to guide our journey through cinema history.

Join us on VTG with Dennis Estlock, Geri Reyes, Joshua Ford, John Savage, Paul Shields, and Ronnie Anderson as we talk about different paranormal topics!!! 

Mark went to the premiere of Actor/Director Harley Wallen's new vampire movie “Beneath Us All” last week and here is where he first met Harley, his lovely wife and collaborator Kaiti and actress Vida Ghaffari 4 years ago discussing his film Eternal Code Mark and Hannah return and try to crack the Eternal Code with writer/director/actor Harley Wallen and actresses Kaiti Wallen and Vida Ghaffari Harley talked about his Swedish upbringing which made him an undefeated MMA fighter and 5 time black belt in Judo. He also broke into show business as a break-dancer (though he admits that he can't do MC Hammer moves) which put him on Swedish TV. Since then he has become a versatile and prolific writer/director working with such notable actors as Tom Sizemore (wait until you hear how he cast him) Tara Reed, John Savage, Corbin Bernson as well as Richard Tyson, Scout Taylor-Compton and Billy Wirth who star in his new action/sci-fi thriller Eternal Code which is inspired by brain transplants which are currently being experimented on. Kaiti is Harley's wife and partner and plays a good hearted working girl in Eternal Code. She started modelling in her native Michigan and tells the story about how she met Harley in a nightclub and felt his energy. They co starred in the movie Betrayed where he kidnaps her, which led to Mark speculating about their affinity for role playing. She is in charge of casting their movies and talks about the process and how they cast their daughter to say a memorable line to Tara Reed during their movie Bennett's Song. Vida gets to follow in her famous father's footsteps and play a scientist in Eternal Code, though this role is a bit of a departure from the good girl roles she normally gets cast in. She gets to kiss Richard Tyson, who she knew from movies when she was a teen. She talked about being typecast and only going up for roles in burkas for the longest time, but that time is no more as she is super busy. Just this year she has starred in Meathook Massacre The Final Chapter, Robowoman, and LA Shark Attack. She also had many admirers at the Q&A at the premiere of the movie which of course got noticed and commented on by Mark. Get some Dark Mark Show gear Go to www.teepublic.com/user/dms1 for shirts, mugs, phone/laptop covers, masks and more! This show is sponsored by: Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.”Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash Renagade CBD Go to renagadecbd.com for all of your CBD needs Tactical Soap Smell Great with Pheromone infused products and drive women wild with desire! Go to https://grondyke-soap-company.myshopify.com/?rfsn=7187911.8cecdba Hits: 6

EPISODE 34, BONUS CONTENTJoin Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 1978, Oscar Winning movie the DEER HUNTER. This movie is proclaimed as one of the best movies of all time! Be sure to watch past episodes and make sure you follow on all podcast platforms!Robert De Niro as Staff Sergeant Michael Vronsky ("Mike"). Christopher Walken as Corporal Nikanor Chevotarevich ("Nick"). John Savage as Corporal Steven Pushkov.John Cazale as Stanley ("Stan"/"Stosh"). Meryl Streep as Linda. George Dzundza as John WelshPierre Segui as Julien GrindaShirley Stoler as Steven's motherChuck Aspegren as Peter Axelrod ("Axel"). Rutanya Alda as Angela Ludhjduravic-PushkovPaul D'Amato as SergeantAmy Wright as BridesmaidJoe Grifasi as BandleaderBecome a Sponsor of the Silver Screen Breakdowns Podcast!

EPISODE 34, ACT 3Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 1978, Oscar Winning movie the DEER HUNTER. This movie is proclaimed as one of the best movies of all time! Be sure to watch past episodes and make sure you follow on all podcast platforms!Robert De Niro as Staff Sergeant Michael Vronsky ("Mike"). Christopher Walken as Corporal Nikanor Chevotarevich ("Nick"). John Savage as Corporal Steven Pushkov.John Cazale as Stanley ("Stan"/"Stosh"). Meryl Streep as Linda. George Dzundza as John WelshPierre Segui as Julien GrindaShirley Stoler as Steven's motherChuck Aspegren as Peter Axelrod ("Axel"). Rutanya Alda as Angela Ludhjduravic-PushkovPaul D'Amato as SergeantAmy Wright as BridesmaidJoe Grifasi as BandleaderBecome a Sponsor of the Silver Screen Breakdowns Podcast!

EPISODE 34, ACT 2Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 1978, Oscar Winning movie the DEER HUNTER. This movie is proclaimed as one of the best movies of all time! Be sure to watch past episodes and make sure you follow on all podcast platforms!Robert De Niro as Staff Sergeant Michael Vronsky ("Mike"). Christopher Walken as Corporal Nikanor Chevotarevich ("Nick"). John Savage as Corporal Steven Pushkov.John Cazale as Stanley ("Stan"/"Stosh"). Meryl Streep as Linda. George Dzundza as John WelshPierre Segui as Julien GrindaShirley Stoler as Steven's motherChuck Aspegren as Peter Axelrod ("Axel"). Rutanya Alda as Angela Ludhjduravic-PushkovPaul D'Amato as SergeantAmy Wright as BridesmaidJoe Grifasi as BandleaderBecome a Sponsor of the Silver Screen Breakdowns Podcast!

EPISODE 34, ACT 1Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 1978, Oscar Winning movie the DEER HUNTER. This movie is proclaimed as one of the best movies of all time! Be sure to watch past episodes and make sure you follow on all podcast platforms!Robert De Niro as Staff Sergeant Michael Vronsky ("Mike"). Christopher Walken as Corporal Nikanor Chevotarevich ("Nick"). John Savage as Corporal Steven Pushkov.John Cazale as Stanley ("Stan"/"Stosh"). Meryl Streep as Linda. George Dzundza as John WelshPierre Segui as Julien GrindaShirley Stoler as Steven's motherChuck Aspegren as Peter Axelrod ("Axel"). Rutanya Alda as Angela Ludhjduravic-PushkovPaul D'Amato as SergeantAmy Wright as BridesmaidJoe Grifasi as BandleaderBecome a Sponsor of the Silver Screen Breakdowns Podcast!

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Multi award-winning filmmaker and actor Harley Wallen has starred in over 40 feature films and TV shows with legendary stars such as Tom Sizemore, Tara Reid and John Savage among many others. Learn more on IMDB: https://www.imdb.com/name/nm6136445/ --- Support this podcast: https://podcasters.spotify.com/pod/show/moviemakingpod/support

Ryan's college baseball coaches Chris Hanks and Sean McKinney with Colorado Mesa University share the memories of Ryan. Big shout out to John Savage head coach from UCLA baseball. @uclabruninsbaseball

I had the pleasure of speaking with Harley Wallen recently, and we had a lot of fun talking, looking at our animal pictures (he's got a dog that looks like mine! and he has cats), and learning about his newest project, Ash and Bone, now available on VUDU and how he got into entertainment. His bio is below: Harley is a multi award-winner and has starred in over 40 feature films and TV shows with legendary stars such as Tom Sizemore, Tara Reed and John Savage among many others. He started his journey as a Martial Artist early with Judo at age 7 and is now a 5th degree black belt. Harley also spent time learning other arts (Jiu-Jitsu, Tae Kwon - Do black-belts as well) and Mixed Martial Arts. His other love at a young age was dance as he was an outstanding break dancer in his teen years. His sheer talent and skill is what landed him his first opportunity in acting as a dancer at the syndicated Swedish TV cult hit 'Solstollarna'! Soon after, he realized he was bitten by the acting bug. Harley then moved from Sweden to the United States to boldly pursue his dreams. After a short stint these plans got sidetracked by business opportunities as Harley climbed various career ladders. After returning to acting, it wasn't long before the roles started coming and the growth he had experienced in the business world started happening to him in the acting world. After the film incentives ended in Michigan, he decided to start making films of his own. Not having a film school background with only limited experience, he decided to go online to further his education in filmmaking and took several more classes and seminars in acting. Finally in 2016 Harley and his wife Kaiti formed the film production company 'Painted Creek Productions'. The one thing he really takes pride in is his commitment to the character he is playing regardless the size of the role or the paycheck. Harley is now writing, producing, acting and directing and has found his life's purpose.  Harley can be found on IMDB, Facebook, Instagram and TikTok. --- Support this podcast: https://podcasters.spotify.com/pod/show/michelemarotta/support

Host Llewellyn King and Co-host Adam Clayton Powell III discuss the risks and rewards of artificial intelligence with John Savage, An Wang professor emeritus of computer science at Brown University.

In this edition of the Dedeaux Download podcast, part of the Peristyle Podcast family of shows, Shotgun Spratling and Jack Smith break down USC baseball's big series win in the Crosstown Showdown against a ranked UCLA team, which featured Cole Gabrielson hitting a ball over the right fielder for a walk-off winner in the bottom of the ninth inning. After struggling at Oregon State last weekend, the Trojans got back on track with a midweek defeat of CSUN. Then against the Bruins, USC rallied back after losing the series opener to earn a big series win. Shotgun and Jack break down all the action with Jack giving his first-hand account of the vibrant crowd. The hosts then look at where the 24-14-1 Trojans stand in the Pac-12, having moved into a tie for third place. They also look at USC's national RPI and what the Trojans chances of making the NCAA tournament are looking like. Shotgun and Jack also discuss the upcoming week with the Trojans taking on UC San Diego at Dedeaux Field on Tuesday before heading on the road to take on the Washington Huskies, who are in a similar position as the Trojans with a team on the bubble under a first-year head coach. The second half of the show, a special guest joins the podcast. USC legend and pitching coach Seth Etherton comes on to talk about the atmosphere at Dedeaux Field this weekend and what the coaching staff is trying to build. Etherton discusses what he's taken away from his former pitching coach John Savage, now the head coach at UCLA. Etherton also talks about how he challenges his pitchers and tries to make practices more difficult than the games. He also breaks down the success of starters Caden Aoki, Tyler Stromsborg and Blake Sodersten. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Jody and Jason are joined by Ariel from The Zombie Grrlz to review the Tales From The Crypt episode "Revenge Is The Nuts"! Starring Anthony Zerbe, Teri Polo, John Savage, Bibi Besch, Isaac Hayes, Tim Sampson Directed by Jonas McCord Follow Dads From the Crypt!  Twitter: @cryptdads  Instagram: @dadsfromthecrypt  Patreon: https://www.patreon.com/DadsFromTheCrypt  Our theme was created by @HY-FY

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

John Savage has an unbelievable story of survival after a rouge wave collided with his boat off the coast of Key West. He documented this remarkable tale in his recently released book “Lost in the Stream: The Miraculous Story of Two Fishermen Lost at Sea” You can buy Lost in the Stream here….https://a.co/d/61mLj1k Sign Up for the 2023 10k Push-Up Challenge: https://tomrowlandpodcast.com/pushups This podcast is presented by Black Rifle Coffee  Use code BLASTOFF25 for 25% off Salt Strong Insiders Club: https://bit.ly/RowlandMembership LMNT Electrolytes Special Offer: http://DrinkLMNT.com/TomRowland If you have questions or suggestions for the show you can text Tom at 1 305-930-7346 This episode has been brought to you by Waypoint TV. Waypoint is the ultimate outdoor network featuring streaming of full-length fishing and hunting television shows, short films and instructional content, a social media network, Podcast Network. Waypoint is available on Roku, Samsung Smart TV, Amazon Fire TV, Apple TV, Chromecast, Android TV, IoS devices, Android Devices and at www.waypointtv.com all for FREE! Join the Waypoint Army by following them on Instagram at the following accounts @waypointtv @waypointfish @waypointsalt @waypointboating @waypointhunt @waypointoutdoorcollective Find over 150 full episodes of Saltwater Experience on Waypoint You can follow Tom Rowland on Instagram @tom_rowland and find all episodes and show notes at Tomrowlandpodcast.com Learn more about Tom's Television shows by visiting their websites:  Saltwater Experience Into the Blue Sweetwater Contact Tom through email: Podcast@saltwaterexperience.comSign Up for the 2023 10k Push-Up Challenge: https://tomrowlandpodcast.com/pushups This podcast is presented by Black Rifle Coffee  Use code BLASTOFF25 for 25% off Salt Strong Insiders Club: https://bit.ly/RowlandMembership LMNT Electrolytes Special Offer: http://DrinkLMNT.com/TomRowland If you have questions or suggestions for the show you can text Tom at 1 305-930-7346 This episode has been brought to you by Waypoint TV. Waypoint is the ultimate outdoor network featuring streaming of full-length fishing and hunting television shows, short films and instructional content, a social media network, Podcast Network. Waypoint is available on Roku, Samsung Smart TV, Amazon Fire TV, Apple TV, Chromecast, Android TV, IoS devices, Android Devices and at www.waypointtv.com all for FREE! Join the Waypoint Army by following them on Instagram at the following accounts @waypointtv @waypointfish @waypointsalt @waypointboating @waypointhunt @waypointoutdoorcollective Find over 150 full episodes of Saltwater Experience on Waypoint You can follow Tom Rowland on Instagram @tom_rowland and find all episodes and show notes at Tomrowlandpodcast.com Learn more about Tom's Television shows by visiting their websites:  Saltwater Experience Into the Blue Sweetwater Contact Tom through email: Podcast@saltwaterexperience.com Learn more about your ad choices. Visit megaphone.fm/adchoices

I'm Christy Shriver and we're here to discuss books that have changed the world and have changed us. I'm Garry Shriver and this is the How to Love lit Podcast. This is our third episode in our four part series on Aldous Huxley's negative utopia Brave New World. In episode 1, we met Huxley and toured London's Central Hatchery, covering chapters 1 and 2. In episode 2, we discussed chapters 3-5 meeting two characters from the novel. I want to point out that they are main characters, and when they were introduced, I expected them to be heroes, but these two are definitely not heroic- Bernard Marx and Lenina Crowne. Through the first five chapters we accompany them on an average evening, an average evening for everyone in the brave new world- not just for them- and average evening in this world consists of two things- soma-taking and sex. Now in episode 3 we accompany these two as they cross the Atlantic to the American continent and then return in chapters 6-11. They bring back with them a character who comes closest to being a hero, he comes closest to being us, John Savage from the reservation. Our plan today is to explore primitive life on the reservation and the contrasts Huxley creates for us as well as watch John the Savage as he interacts with the Brave New World on his return. Christy, before we get into that I want to revisit a few important ideas from earlier episodes. As we think about how Huxley drew these standardized humans, and their lives, it's more and more obvious that Huxley, himself, is not advocating for life a comfortable and happy life, at least in the way he defines these terms. Comfortable meaning no anxiety; happy meaning full of distractions and entertainment. No, we have to read this entire book as irony- everything he is defending is the opposite of what he's describing. It's what makes this book confusing to many readers. The farther we get into the chapters, the more bitter the irony- even positive words like hygienic and beautiful and happy are used by Huxley to make us question if even these are really good things at all. One place to pay attention is when reading how the characters talk to and about each other. What we see is that there is zero sense of what we consider to be meaningful relationship. They talk about each other and to each other as if they were merchandise, or to use Huxley's term- meat- dead or alive. Huxley as a student of biology and psychology really pushes the scientific boundaries and even our imaginations to the limits. He asks how far will society, or the power structure of our world go when it comes to psychological manipulation through conditioning? Are there ethical limits or boundaries in the messages we hear from political or commercial leadership- and Huxley does not really see that there is a difference between these two. And not just through repetition and peer pressure but also through government/cultural sanctioned drug use and sexual behaviors. All of this, of course always expressed as being for the common good. Not even the world leaders in a Brave New World have nefarious motives. There is no obvious villain, no Hitler or Stalin out there murdering innocent people. The government is doing everything in the name of general good, and yet, we, as readers are made to question if this is really the case. Hosted on Acast. See acast.com/privacy for more information.

In Episode 11, our host, Captain Ricky Wheeler, interviews guest, John Savage. John has had a very scary experience being lost at sea, and it isn't until recently he truly decided to share his story with the world as he wrote a book about it called "lost in the Stream". John and his Captain's survival was nothing short of a miracle, and he openly talks about the many miracles that have happened along with some very funny stories from his travels as a sportfishing mate with some great people.Purchase "Lost In the Stream" book at https://amzn.to/3DbD5ep "Lost In the Stream" Book website: https://lostinthestreambook.com/    The website has links to Facebook & Insta pages.  As mentioned in this podcast: Awareness Organization: https://www.valhallasmissionforce.com/   Knives, axes, shields and flag builds to help those that have protected us.  Gold Star Families, Active Duty, Vets & First Responders.Saltwater Euphoria Podcast Sponsors:+Saltwater Euphoria - https://www.saltwatereuphoria.com/+Euphoria Sportfishing - https://www.euphoriasportfishing.com/+Strike Point Tackle - http://www.strikepointtackle.com/shopUse discount code RICKY10 at Checkout on Strike Point Tackle's Website for 10% off anything on their website.You can follow the following on Instagram:CaptainRickyWheeler: @CaptainRickyWheelerSaltwater Euphoria: @SaltwaterEuphoriaEuphoria Sportfishing: @EuphoriaSportfishingIf you like this podcast please be sure to click that FOLLOW button and also spread the word by sharing this episode with your friends or whatever social channels you are on.  We appreciate your support.To fish with our host, Captain Ricky Wheeler, aboard his beautiful 60' Custom Sportfishing Boat, go to EuphoriaSportfishing.comFor online fishing courses, go to our website Courses.SaltwaterEuphoria.com

Steve & Izzy continue DINOvember, a celebration of 90s Dinosaur movies (but not that one), as they are joined by Brendan of the What Were They Thinking Podcast to discuss 1995's "Carnosaur 2" starring John Savage, Cliff DeYoung, Arabella Holzbog & Miguel A. Nunez jr in a Roger Corman flick!!! What is the Metric Calendar? Can Steve edit around Izzy's coughing? Why are they playing rock, paper, scissors poorly? Is this basically just Aliens with guys in raptor outfits?!? Let's find out!!! So kick back, grab a few brews, store your frozen dino eggs next to your nukes, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices

Chidiock Tichborne was a poet raised Catholic among Protestants. He is known to history as one of the conspirators involved in a plot to assassinate Queen Elizabeth I, a Protestant, and replace her with Mary, Queen of Scots, a Catholic. Let's talk about how his involvement in what was called the Babington Plot led to his execution for high treason.See omnystudio.com/listener for privacy information.