Podcast appearances and mentions of johnny suede

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.

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.

We are talking Brad Pitt this month, and we're getting into his early career with Johnny Suede, A River Runs Through It, and Kalifornia.

Tom DiCillo is an American film director, screenwriter known for such films as JOHNNY SUEDE (1991) starring Brad Pitt & Catherine Keener, LIVING IN OBLIVION (1995) with Steve Buscemi also starring Catherine Keener, BOX OF MOONLIGHT (1996) with John Turturro and Sam Rockwell, & DELIRIOUS (2006) starring Steve Buscemi and Michael Pitt.  He also made the acclaimed documentary WHEN YOU'RE STRANGE (2009) about The Doors which like several of his other films have premiered at Sundance. Hosted by Zef Cota  

New Movies: Vengeance - A writer from New York City attempts to solve the murder of a girl he hooked up with and travels down south to investigate the circumstances of her death and discover what happened to her. Marcel the Shell With Shoes On - Marcel is an adorable, 1-inch-tall shell who ekes out a colorful existence with his grandmother, Connie, and their pet lint, Alan. Once part of a sprawling community of shells, they now live alone as the sole survivors of a mysterious tragedy. However, when a documentary filmmaker discovers them, the short film he posts online brings Marcel millions of passionate fans, as well as unprecedented dangers and a new hope of finding his long-lost family. Bullet Train - Ladybug (Brad Pitt) is an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug's latest mission puts him on a collision course with lethal adversaries from around the globe-all with connected, yet conflicting, objectives-on the world's fastest train. The end of the line is just the beginning in this non-stop thrill-ride through modern-day Japan. Prey - The origin story of the Predator in the world of the Comanche Nation 300 years ago. Naru, a skilled female warrior, fights to protect her tribe against one of the first highly-evolved Predators to land on Earth. Sharp Stick - Sarah Jo is a naive 26-year-old living on the fringes of Hollywood with her mother and sister. She just longs to be seen. When she begins an affair with her older employer, she is thrust into an education on sexuality, loss and power. Undisputed Classic Daniel Isn't Real - A troubled college freshman, Luke, suffers a violent family trauma. He then resurrects his charismatic childhood imaginary friend Daniel to help him cope, not realizing how dangerous Daniel is. 1992 - Buffy the Vampire Slayer, Death Becomes Her, Enchanted April, Unforgiven, Raising Cain Next Week - Fall, Mack & Rita, Bodies Bodies Bodies, Emily the CriminalClassic - Open Water1992 - Diggstown, Johnny Suede, Single White Female, Stay Tuned Patreon: https://www.patreon.com/criticspod Teepublic: https://www.teepublic.com/user/criticspod?utm_source=designer&utm_medium=social&utm_campaign=reAEYmh6vUY YouTube: https://www.youtube.com/channel/UCnFNiCSoEAfk7Y3C8sfoTRw/videos   

On the twenty-fourth episode of Ammonite Movie Nite, we dance around THE BATMAN spoilers (with much more spoilery talk to come in *checks watch* mid-April) before taking a pit stop in Brooklyn with Brad Pitt and Catherine Keener in the out-of-nowhere indie classic JOHNNY SUEDE and raging against the dying of the light with Ethan Hawke's Father Toller in Paul Schrader's FIRST REFORMED. NEXT WEEK: Tarantino and Rodriguez are back! And this time, they're back to back! GRINDHOUSE (2006) is Kev's Davy Jones pick! You can't stream the theatrical version of GRINDHOUSE (or buy the Blu-ray, apparently) because life is hard. If you want to watch along, we suggest stealing it, or, barring that, renting PLANET TERROR and DEATH PROOF and watching a fake trailer comp on youtube in-between. You'll be missing jokes in DEATH PROOF specifically, but we'll fill you in. It kind of sucks, but such is life. Thanks for nothing, Harvey! Questions? Comments? Concerns? What did we miss? Let us know via email/voicemail @ amntpod at gmail dot com! Our theme song was composed and performed by the mighty Chris Coffey. His band, Mr.TV Man, has an awesome album called INCIDENTAL MUSIC you can stream wherever you stream music. HELPFUL LINKS: Follow Ammonite, Inc on IG! Follow Kev on Letterboxd! Follow Jared on Letterboxd! Listen to Austin Danger Podcast

Joined on the phone by Johnny Suede, Lane and Sama talk to the Clicker Coat Guru himself. Clothing designer, car enthusiast, and lover of everything this culture has to provide, you must go and pick up what Johnny Suede is putting down!

Now is a fly's fart in the wind

Before They Were Famous Month comes to a close with Brad Pitt and his ridiculous hair in the 1991 indie-flick disaster "Johnny Suede"!

Topics: Y2K Bug, Eminem, The Best Man, 90's TV (Bonus Artist: Rocky Mtn. Rhyme Posse)   1999 Notes   Snapshots   1.    Bill Clinton President   2.    Jan – A snowstorm leaves 14 inches (36 cm) of snow in Milwaukee, Wisconsin and 21 inches (53 cm) in Chicago, Illinois, killing 68.   3.    Jan – The adult animated sitcom Family Guy debuts on the Fox network after Super Bowl XXXIII.   4.    Feb - Impeachment of Bill Clinton: President Bill Clinton is acquitted by the Senate.   5.    Mar - A Michigan jury finds Dr. Jack Kevorkian guilty of second-degree murder for administering a lethal injection to a terminally ill man.   6.    Apr - Columbine High School massacre: Two Littleton, Colorado teenagers, Eric Harris and Dylan Klebold, open fire on their teachers and classmates, killing 12 students and one teacher, and then themselves. It would be the deadliest shooting at a high school in U.S. history at the time. The shooting sparks debate on school bullying, gun control and violence in the media.   7.    May - The animated children's TV series SpongeBob SquarePants debuts on the cable network Nickelodeon.   8.    May - Star Wars: Episode I – The Phantom Menace is released in theaters.   9.    Jun - Texas Governor George W. Bush announces he will seek the Republican Party nomination for President of the United States.   10.    Jun - Napster Released. It was mainly used by people who shared MP3 music and digital audio files. As the laws about file sharing and copyright regarding the internet were just newly established, the service soon ran into legal troubles dealing with copyright infringement.   11.    Jul - U.S. soccer player Brandi Chastain scores the game winning penalty kick against China in the FIFA Women's World Cup. Briana Scurry, goalkeeper, was elected to the National Soccer Hall of Fame in 2017. She was the first woman goalkeeper and first black woman to be awarded the honor.   12.    Jun - Lance Armsrong wins the Tour de France. The United States Anti-Doping Agency announced in August 2012 that they had disqualified Armstrong from all his results since 1998, including his seven consecutive Tour de France wins from 1999 to 2005 (which were, originally, the most wins in the event's history)   13.    Sep - The West Nile Virus first appears in the United States. The disease spread quickly through infected birds. Mosquitoes spread the disease to mammals.   14.    Dec - Boris Yeltsin resigns as President of Russia, replaced by Vladimir Putin. Yeltsin has been describes as,  "Russia's first modern leader" and has been compared to Nelson Mandela.   15.    Top 3 Pop Songs   16.    #1 "Believe"    Cher   17.    #2 "No Scrubs"    TLC   18.    #3  "Angel of Mine"    Monica   19.    Record of the Year: "Smooth" – Santana featuring Rob Thomas   20.    Album of the Year: Supernatural – Santana   21.    Song of the Year: "Smooth" – Santana featuring Rob   22.    Best New Artist: Christina Aguilera (Note: Beat out Brittney Spears)   23.    Best Female R&B Vocal Performance: "It's Not Right but It's Okay" – Whitney Houston   24.    Best Male R&B Vocal Performance: "Staying Power" – Barry White   25.    Best R&B Performance by a Duo or Group with Vocal: "No Scrubs" – TLC   26.    Best R&B Song: "No Scrubs" – TLC   27.    Best R&B Album: FanMail – TLC   28.    Best Rap Solo Performance: "My Name Is" – Eminem   29.    Best Rap Performance by a Duo or Group: "You Got Me" – The Roots featuring Erykah Badu   30.    Best Rap Album: The Slim Shady LP – Eminem   31.    Top 3 Moives   32.    #1  Star Wars: Episode I – The Phantom Menace   33.    #2 The Sixth Sense   34.    #3 Toy Story 2   35.    Notables:  Office Space, Analyze This, Lock, Stock and Two Smoking Barrels, The Matrix (3/31/1999 - 20 days before Columbine), Life, The Mummy, Austin Powers: The Spy Who Shagged Me, Wild Wild West, American Pie, The Blair Witch Project, Eyes Wide Shut, The Wood, The Iron Giant, The Sixth Sense, The Thomas Crown Affair, Bowfinger, Three Kings, Fight Club, The Green Mile, Any Given Sunday   36.    Top 3 TV Shows   37.    #1 Who Wants to Be a Millionaire — Tuesday   38.    #2 Who Wants to Be a Millionaire — Thursday   39.    #3 Who Wants to Be a Millionaire — Sunday   40.    Debuts: The PJs, The Parkers, The Queen Latifah Show, Judge Mathis   41.    Economic Snapshots   42.    Income = 40.8k (Previously 38.1k)   43.    House = 131.7k (129.3k)   44.    Car = 21kk (17k)   45.    Rent = 645 (619)   46.    Harvard = 31.1k (30,080)   47.    Movie = 5.06 (4.69)   48.    Gas = 1.22 (1.15)   49.    Stamp = .33 (.32)   50.    Social Scene: Y2K Scare   51.    The Y2K problem and the millennium bug was the most important thing on most companies minds in 1999. This fear was fueled by the press coverage and other media speculation, as well as corporate and government reports. All over the world companies and organizations checked and upgraded their computer systems. Problems were anticipated, and arose, because many programs represented four-digit years with only the final two digits – making the year 2000 indistinguishable from 1900.   52.    (Audio Clip)   53.    Music Scene   54.    Music Scene: Black Songs from the Top 40   55.    #2 "No Scrubs" - TLC   56.    #3 "Angel of Mine" - Monica   57.    #4 "Heartbreak Hotel" - Whitney Houston featuring Faith Evans and Kelly Price   58.    #9 "Nobody's Supposed to Be Here" - Deborah Cox   59.    #11 "Where My Girls At?" - 702   60.    #12 "If You Had My Love" - Jennifer Lopez   61.    #14 "Have You Ever?" - Brandy   62.    #16 "I'm Your Angel" - R. Kelly and Celine Dion   63.    #19 "Smooth" - Santana featuring Rob Thomas   64.    #20 "Unpretty" - TLC   65.    #21 "Bills, Bills, Bills" - Destiny's Child   66.    #24 "Fortunate" - Maxwell   67.    #27 "What's It Gonna Be?!" - Busta Rhymes featuring Janet   68.    #28  "What It's Like" - Everlast   69.    #29 "Fly Away" - Lenny Kravitz   70.    #31 "Lately" - Divine   71.    #33 "Wild Wild West" - Will Smith featuring Dru Hill and Kool Moe Dee   72.    #35 "Heartbreaker" - Mariah Carey featuring Jay-Z   73.    #36 "I Still Believe" - Mariah Carey   74.    #39 "Can I Get A..." - Jay-Z featuring Amil and Ja Rule   75.    #42 "Mambo No. 5" - Lou Bega   76.    #43 "Sweet Lady" - Tyrese   77.    Top Rnb Albums   78.    Jan Ghetto Fabulous - Mystikal   79.    Jan Flesh of My Flesh, Blood of My Blood - DMX   80.    Feb Made Man - Silkk the Shocker   81.    Feb Chyna Doll - Foxy Brown   82.    Feb The Miseducation of Lauryn Hill - Lauryn Hill   83.    Mar Da Next Level - Mr. Serv-On   84.    Mar FanMail - TLC   85.    Mar Bossalinie - C-Murder   86.    Apr The Slim Shady LP - Eminem   87.    Apr I Am… - Nas   88.    May  Ryde or Die Vol. 1 - Ruff Ryders   89.    May No Limit Top Dogg - Snoop Dogg   90.    Jun In Our Lifetime - 8Ball & MJG   91.    Jun The Art of Storytelling - Slick Rick   92.    Jun Venni Vetti Vecci - Ja Rule   93.    Jul Da Real World - Missy "Misdemeanor" Elliott   94.    Jul Beneath the Surface - GZA/Genius   95.    Jul Street Life - Fiend   96.    Jul Can't Stay Away - Too Short   97.    Aug Guerrilla Warfare - Hot Boys   98.    Aug Coming of Age - Memphis Bleek   99.    Sep Mary - Mary J. Blige   100.    Sep Forever - Puff Daddy   101.    Oct Let There Be Eve...Ruff Ryders' First Lady - Eve   102.    Ocy Blackout! - Method Man & Redman   103.    Nov Only God Can Judge Me - Master P   104.    Nov Tha Block Is Hot - Lil Wayne   105.    Dec 2001 - Dr. Dre   106.    Dec Born Again - The Notorious B.I.G.   107.    Featured Artist: Eminem   108.    Childhood & Early Life: Born Marshall Bruce Mathers III in St. Joseph, Missouri, in 1972, to parents who were members of a band that used to perform at the hotel 'Ramada Inns.' He grew up in a predominantly black neighbourhood, where he was often bullied. As a child he showed affinity toward comics and music, particularly rapping. He had a difficult childhood and he was never on good terms with his mother. He was, however, close to her half-brother, Ronnie. Marshall's education suffered as a result of constant troubles with his mom and he dropped-out of 'Lincoln High School,' when he was seventeen.   109.    Career: When Marshall was fourteen years old, he started rapping and attenditg contetst with his friend DeShaun Dupree Holton, who later became famous as rapper Proof. The two friends formed their own group called 'D12' or 'The Dirty Dozen,' in 1996. Also in 1996, Eminem (@16) brought out his first album titled 'Infinite.' The album was recorded under the banner of 'FBT Productions,' and included songs that spoke about the struggles he faced after the birth of his daughter, at a time when he was financially unstable. His financial condition had worsened and by 1997, he was forced to live in his mother's house with his family. During this time, to let go of the frustration building inside him, he created an anti-social alter-ego named 'Slim Shady.' He even recorded his first extended play by the same name in the same year.   110.    After he was fired from his job and evicted from his home, Eminem went to Los Angeles to compete in the 1997 Rap Olympics, an annual, nationwide battle rap competition. He placed second, and an Interscope Records intern in attendance called asked Eminem for a copy of the Slim Shady EP, which was then sent to company CEO Jimmy Iovine. Iovine played the tape for record producer Dr. Dre, who recalled sayingd, "In my entire career in the music industry, I have never found anything from a demo tape or a CD. When Jimmy played this, I said, 'Find him. Now.'" Although Dre's friends criticized him for hiring a white rapper, he was confident in his decision: "I don't give a fuck if you're purple; if you can kick it, I'm working with you."   111.    In February 1999, Dr. Dre helped Eminem release an album titled 'The Slim Shady LP,' which immediately catapulted him to fame. With hits like 'My Name Is,' '97 Bonnie and Clyde,' and 'Guilty Conscience,' it was one of the most successful albums of the year.   112.    Movie Scene: The Best Man   113.    Harper Stewart (Taye Diggs), a commitment-shy writer and the best man at the wedding of Lance (Morris Chestnut) and Mia (Monica Calhoun), is nervous-and with good reason. His steamy new novel hits bookstores soon, and when his friends finally read it he knows they will notice more than just a passing resemblance to the characters depicted in the book.   114.    Director: Malcolm D. Lee, Debut film [Undercover Brother (2002), Roll Bounce (2005), Welcome Home Roscoe Jenkins (2008), Soul Men (2008), Scary Movie 5 (2013), The Best Man Holiday (2013), Girls Trip (2017), and Night School (2018)]   115.    Cast: Taye Diggs, Nia Long, Morris Chestnut, Harold Perrineau, Terance Howard, Sanaa Lathan, Monica Calhoun, Melissa De Sousa, Terrence Howard, Regina Hall [*Film Debut]   116.    'The Best Man': A Joyous Occasion [By Lonnae O'Neal Parker Washington Post Staff Writer, Oct 1999]   117.    This smart debut from filmmaker Malcolm D. Lee, cousin to the film's producer, Spike, centers around a group of old friends who reunite in New York for a wedding. Tapping into the Zeitgeist of young black professionals starving to see themselves on film, it hits all the right cultural touchstones: from BET to Stevie Wonder, Chubb Rock to bid whist. Although the film is produced by Spike Lee, don't expect racial politics. And while comparisons to another black wedding-themed movie starring Taye Diggs, "The Wood," are bound to come up, resist.   118.    James Berardinelli - Reelviews   119.    The Best Man is not what it initially seems to be. Despite starting out with all the earmarks of a fairly ordinary romantic comedy, the project develops into a surprisingly effective look at a man's quest for rebirth after events topple him from a pedestal of arrogance. And, while there are plenty of laughs to be had, The Best Man functions better as a light drama than a straight comedy, with several scenes packing a punch because they're played straight. The film is the directorial debut of Malcolm D. Lee (Spike's cousin), who may have gotten this chance because of family connections but shows enough promise to earn further opportunities on his own.   120.    The Best Man (1999) - 1½ Stars [Reviewed by Dustin Putman, October 1999]   121.    As with 1997's melodramatic, corny "Soul Food," and last summer's "The Wood," which also starred Diggs in a story set around a wedding(!), "The Best Man" aspires to be something more than it actually is. Kudos to Lee for trying his hand at a more knowledgeable picture that all audiences (not just African-Americans) might enjoy, but he also gets more than his share of debits for its severely flawed treatment. At over two hours in length, "The Best Man" thankfully never overstays its welcome and goes by fairly fast, but by the time the Electric Slide was carried out by everyone at the wedding reception over the end credits, I realized that the actors deserved far better. As is, the conclusion plays like an excuse for each of the cast members to give themselves a pat on the back, when they really didn't earn that pat to begin with.   122.    Denzel Washington, film debut in Carbon Copy (1981) and in 1982, Denzel made his first appearance in the medical drama St. Elsewhere as Dr. Philip Chandler. The role proved to be the breakthrough in his career.   123.    Nominated for Best Supporting Actor: Cry Freedom (1988) and Glory (1990)(*won)   124.    Nominated for Best Actor for Malcolm X (1993)   125.    1981 Carbon Copy / 1984 A Soldier's Story / 1986 Power / 1987 Cry Freedom / 1988 For Queen and Country / 1989 The Mighty Quinn / 1989 Glory / 1990 Heart Condition / 1990 Mo' Better Blues / 1991 Mississippi Masala / 1991 Ricochet / 1992 Malcolm X / 1993 Much Ado About Nothing / 1993 The Pelican Brief / 1993 Philadelphia / 1995 Crimson Tide / 1995 Virtuosity / 1995 Devil in a Blue Dress / 1996 Courage Under Fire / 1996 The Preacher's Wife / 1998 Fallen / 1998 He Got Game / 1998 The Siege / 1999 The Bone Collector / 1999 The Hurricane - [25 films]   126.    Samuel L. Jackson.   127.    Nominated for Best Supporting Actor: Pulp Fiction (1994)   128.    1981 Ragtime / 1987 Magic Sticks / 1988 Coming to America / 1988 School Daze / 1989 Do the Right Thing / 1989 Sea of Love / 1990 Def by Temptation / 1990 A Shock to the System / 1990 Betsy's Wedding / 1990 Mo' Better Blues / 1990 The Exorcist III / 1990 Goodfellas / 1990 The Return of Superfly / 1991 Strictly Business / 1991 Jungle Fever / 1991 Jumpin' at the Boneyard / 1991 Johnny Suede / 1992 Juice / 1992 Patriot Games /1992 White Sands / 1992 Fathers & Sons / 1993 Menace II Society /1993 Loaded Weapon / 1993 Amos & Andrew / 1993 Jurassic Park / 1993 True Romance / 1994 Fresh / 1994 Pulp Fiction / 1994 The New Age / 1994 Hail Caesar / 1994 Assault at West Point: The Court-Martial of Johnson Whittaker / 1994 The Search for One-eye Jimmy / 1995 Kiss of Death / 1995 Die Hard with a Vengeance / 1995 Losing Isaiah / 1995 Fluke / 1996 The Great White Hype / 1996 A Time to Kill / 1996 The Long Kiss Goodnight / 1996 Hard Eight / 1996 Trees Lounge / 1997 One Eight Seven / 1997 Eve's Bayou / 1997 Jackie Brown / 1998 Sphere / 1998 The Negotiator / 1998 The Red Violin / 1998 Out of Sight / 1999 Star Wars: Episode I – The Phantom Menace / 1999 Deep Blue Sea - [50 films]   129.    Question: DW vs. SLJ?   130.    Television Scene:   131.    18 Black Sitcoms of the '90s That Changed the Game: Published Jan 24, 2020 - By Damarys Ocaña Perez   132.    Black sitcoms have been popular since classics like Good Times, The Jeffersons, and Sanford and Son hit television screens nationwide in the '70s. But it wasn't until The Cosby Show became a ratings juggernaut in the mid '80s that networks finally saw the potential in investing heavily in sitcoms with black leads.   133.    And so the '90s became a decade in which more black sitcoms than ever made it onto TV   134.    Naturally, given the success of The Cosby Show, a lot of shows that followed featured families. But they didn't just simply copy the formula.   135.    The lives of younger people took center stage as well in the '90s. So, instead of being the token black friend within the larger context of a show, black teens, college students, 20-something professionals became the vehicle for funny and even poignant stories.   136.    The '90s turned hugely talented black comedians and actors into stars who remain household names to this day, and it goes to show the impact that being given a seat at the table and a voice on prime time television can accomplish.   137.    Here are 18 black '90s sitcoms that we love do this day for the impact they had on our lives then and now.   138.    'A Different World' (1987-1993): One of the show's major accomplishments was being among the first to tackle real issues like date rape, racism, and HIV, things that the Cosby Show had avoided. A Different World is the gem that created a bridge to the '90s black sitcom boom.   139.    'Family Matters' (1989-1997): The longest-running sitcom about a black family (it spanned nine seasons to The Cosby Show's eight), Family Matters was not only funny -- especially after introducing super-nerd Urkel -- but managed to balance big laughs with more serious moments. There were episodes that centered around civil rights history and police mistreatment of young black men, and a wide-ranging audience got to see them, thanks to the show's across-the-board popularity.   140.    'The Fresh Prince of Bel-Air' (1990-1996): Nestled between Will Smith's rapping days and his status as one of the world's most bankable A-list movie stars was The Fresh Prince of Bel-Air, which made his a household name and produced one of the longest-running fan debates in TV history on which of the two actresses who played Aunt Viv was the best one.   141.    'Roc' (1991-1994): Before Charles S. Dutton went on to win three Emmys for his work on other shows, he starred in this underrated and brief series that was fairly typical sitcom until the second season, which aired each episode live. Roc was a treat because Dutton and several of the other cast members were trained stage actors.   142.    'Martin' (1992-1997): Martin Lawrence was all edge when he wasn't doing Martin. (One of his stand-up specials was slapped with an NC-17 rating, and he was banned from Saturday Night Live for delivering a hilariously raunchy monologue.) That makes it all the more interesting that on the show Martin, he played a lovably manic man-boy. We lost count of how many characters Martin played on the show (in disguise), each one of them hilarious in their own specific way.   143.    'Hangin' With Mr. Cooper' (1992-1997): This sitcom had a great cast, including comedian Raven-Symoné, Holly Robinson Peete, and Mark Curry.   144.    'Living Single' (1993-1998): The show marked the first time that we saw young black women portrayed as professionals and given well-rounded personalities, have healthy relationships, and pave the way for black female-centered shows - nlike Girlfriends and Insecure.   145.    'Sister, Sister' (1994-1999): There are so many reasons why we loved Sister,Sister, and one of them was that the show would occasionally break the fourth wall and talk directly to the audience, which made us feel part of the action. But the show also had layers that deepened its story: The girls had been the product of an interracial relationship between a black mom and a white dad who never had the chance to marry before being separated in tragic circumstances.   146.    'In The House' (1995-1999): It wasn't the world's best sitcom, but hey, LL Cool J has always been a snack.   147.    'The Parent 'Hood' (1995-1999): One of the four original Wednesday night shows that helped launched the WB (The Wayans Bros was another), what sets the show apart are the whimsical fantasy sequences that the dad dreams up to help him solve family issues in a creative and unexpected way.   148.    'The Wayans Bros.' (1995-1999): In Living Color, it's not, but this sitcom from younger Wayans siblings Shawn and Marlon is still simple fun that doesn't require too many brain cells -- and that can be a good thing.   149.    'Moesha' (1996-2001): Moesha centered around a black teenager diving into deeper explorations of all kinds of relationships and left cliffhangers in several story lines dangling when it was canceled.   150.    'The Jamie Foxx Show' (1996-2001): Fresh off the groundbreaking comedy sketch show In Living Color and before he becoming an movie star, Jamie Foxx starred as an aspiring actor who works at his relatives' hotel.   151.    'Kenan & Kel' (1996-2000): Kenan Thompson and Kel Mitchell were Nickelodeon's first black sitcom stars, having landed their own show when producers saw them joking around on the set of All That when they were series regulars.   152.    'The Steve Harvey Show' (1996-2002): A big highlight is the constant guest star roster that's a who's who of black TV stars and musicians -- like Snoop Dogg, Diddy, Kim Fields, and Ja’Net DuBois of the classic sitcom Good Times.   153.    'The Hughleys' (1998-2002): Two decades before Black-ish tackled a similar premise, The Hughleys featured a family that lives in a predominantly white neighborhood.   154.    'The Famous Jett Jackson' (1998-2001): This show had just 65 episodes but has a special place in our hearts as the first Disney Channel show to feature a black actor as the lead. The immensely talented and magnetic Lee Thompson Young starred as Jett Jackson, a kid who tries to live a normal life when he's not filming. Thompson tragically died at age 29, after struggling with bipolar disorder and depression, but the heartwarming show lives on.   155.    'The Parkers' (1999-2004): It's no surprise that one of the most down-to-earth black sitcoms from the '90s starred Mo'Nique as a single mom who dropped out of high school to raise her baby.   156.    Question: Most Liked Show of the 90’s?   157.    Vote: Best/most important/favorite pop culture item from 1999

In our SEASON FINALE, Tyler Duden goes up against Johnny Suede in a battle of the Chads!! Is Fight Club... good? Will Hannah & Sarah get to screen Voyage of Time at Brad Pitt's house? Why did a male model tell Hannah to go f*** herself? We have answers. See acast.com/privacy for privacy and opt-out information.

durée : 00:54:38 - Certains l'aiment Fip - A l'occasion de la récente sortie de "Ad Astra", plongeons dans l'univers de l'acteur et producteur avec des extraits des BO de Snatch, Fight Club, Johnny Suede, Thelma et Louise, Once upon a time, in Hollywood ...

We discuss TWO movies this week, Across the Tracks and Johnny Suede. Follow us on Twitter @thepittspod and Instagram @thisisthepittspod

Johnny Suede goes up against True Romance in a battle of the slackers. In Johnny Suede, Brad Pitt stars as a struggling musician who just can’t get his act together despite his perfectly coiffed hair. In True Romance, Brad appears as a well-meaning stoner who keeps wrecking everyone’s plans. Only one will bumble his way to the finish line. See acast.com/privacy for privacy and opt-out information.

Brad is BACK for the third and final movie in the Ocean's trilogy. How will Rusty stack up against smooth-talking skeezeball Johnny Suede? Will he be charmed by Johnny's beautiful suede shoes and pompadeur? Will he charm us? Featuring special guest Katelyn Davidson, Ocean's Expert. Indiegogo link: igg.me/at/marchbradness See acast.com/privacy for privacy and opt-out information.

This week Craig and Shawn crank up their hair dryers and comb down their sideburns to talk the 1991 Tom DiCillo indie comedy "Johnny Suede." Who knew Brad Pitt would have such a bright future after playing a guy so stuck in the past? Probably literally no one. Probably. Enjoy! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Movie Meltdown - Episode 283 This week we welcome special guest co-host Greg Sestero, better known to many people as Mark from The Room. We discuss his early days getting into acting and how he met Tommy Wiseau and came to be involved in the making of his infamous film. Plus we hear about Greg documenting all these stories in his book - The Disaster Artist, about the making of The Room. Plus we gladly welcome Greg to sit-in for our Sofa Theater discussion on an arguably "bad" movie from a young Brad Pitt entitled - Johnny Suede. And as we discuss wild dogs running in the streets, we also mention… Ricky Nelson, Home Alone, Solarbabies, Drive, Ed Wood, Double Indemnity, instruments that grant wishes, Power Rangers, John Hughes, Bucharest, Romania, A streetcar Named Desire, Under the Skin, Javier Bardem, Breaking Bad, psychedelic lightning, Jami Gertz, very personal, Uncharted, The American Dream… Tommy’s journey…  and this unlikely friendship,  Spring Breakers, Richard Linklater, Guardians of the Galaxy, Stanley Kubrick, it’s the type of movie that laughs at itself, but then it takes itself seriously, an acting class in San Francisco, Boyhood, two robot women, Only God Forgives, Russian and French, a writer from Entertainment Weekly, Grizzly Adams, Miami Connection, Patton Oswalt, shooting films in the library,it was sort of like a sick fantasy… to have a packed house watch this movie, Sunset Boulevard, Sgt. Pepper's Lonely Hearts Club Band, Saga, the worst girlfriend you could ever ask for, 5 Second Films, I’ve learned my lesson… you never know what project you do that an audience is gonna respond to, Indiana Jones and the Last Crusade, kids begging on the streets, being a musicologist, So I just kind of… got on the roller coaster… and just accepted where it was going to go, Living in Oblivion, Ten degrees below zero, Cool World, a vanity project gone horribly wrong, Howard the Duck, The Killing, depressing and realistic, leave your stupid comments in your pocket, Andrew W.K., Volumes of Blood, James Franco, Billy Wilder, he kind of made the movie work, The Assassination of Jesse James by the Coward Robert Ford, Retro Puppet Master, obliterate every scene he was in and a VHS copy of Mazes and Monsters. Spoiler Alert: Minor spoilers for Sgt. Pepper's Lonely Hearts Club Band, The Room and Johnny Suede.  “I always felt like, the story behind it was even more amazing. More baffling.” For more on Greg and “The Disaster Artist” go to:  http://www.thedisasterartistbook.com/

Movie Meltdown - Episode 139 This week we go “off -the-rails” with ridiculous discussions that may or may not have anything to do with this week’s Sofa Theater feature: The Thing with Two Heads! Plus we wrap up with a truly heroic Marlena moment! And while we discuss the Faulknerian exercise of having two heads, we also mention…loving cake balls, Harold and Maude, Final Destination 5, Johnny Suede, Columbo or Mannix? Kill Bill Part 1, Scream, old-time strong man, Bunny and the Bull, Jason Bateman and Ryan Renolds, W. Earl Brown, Mel Brooks, missing fairy tales, deep-fried Derby Pie, MST3K-ing your own movie, THE Siamese twins, the cop from the Village People, Tangled, a two-headed gorilla, what do mashed potatoes not go with?, Sam Rockwell, Archie Bunker, bending stuff, Joey Lawrence, Hobo with a Shotgun, a Yoda backpack, curry burrito, Cillian Murphy, hatin’ on Monk, there are rules at a tractor pull!, pistachios and bananas, Black Dynamite, why not finish out the basement?, a sideshow, Young Frankenstein, The Electric Grandmother, necksploitation, Rest Stop, Peacock, Bea Arthur, where is Lolita now?, the Wes Anderson American Express commercial, Robby looked good, being obsessed with Beauty and the Beast, being proud of Jaime Pressly, old west douche bags, singing with The Golden Girls, you black bastard, an Amish jack, a really boring, long episode of Dukes of Hazard, too much information equals a lie, a clever circus dupe, my trans-gendered neighbor, being pre-goth, the mulatto character is the loneliest character, things in jars, everybody loved Robby, Light in August, the least impressive car chase - ever, a Halloween promo-based thing, Garrett Morris is awesome!, Honey…I’m trapped under the shed again, a new sophisticated blacksploitation and the kid from “Hair” with nipple rings. Spoiler Alert: I guess we kind of spoil “The Thing with Two Heads“…but then, the makers of the movie kind of spoiled it when they made it. “Which one was he?? The one with the two heads?”