American film and television director, writer and producer
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3 episodes with Jon Avnet
2 episodes with Jon Avnet
Director Jon Avnet joins Matthew Pejkovic on the Matt's Movie Reviews Podcast to talk about his new film The Last Rodeo, a drama that stars Neal McDonough as a long retired rodeo star who enters a high-stakes, high reward bull-riding competition to pay for his grandsons brain tumor surgery. Matt's Movie Reviews Podcast listed in FeedSpot's Top 100 Movie Podcasts: https://podcasts.feedspot.com/movies_podcasts/ Support Matt's Movie Reviews PayPal: https://tinyurl.com/2x9tn2k4 TeePublic: https://tinyurl.com/2p9c5kpn Amazon: https://amzn.to/3ZCn9xA Follow Matt's Movie Reviews Website: http://mattsmoviereviews.net Facebook: https://www.facebook.com/mattsmovierev Instagram: https://www.instagram.com/mattsmovierev/ Rumble: https://rumble.com/c/c-1643285
In this heartfelt episode of The Faith Film Fan Podcast with host Rick Altizer, acclaimed actor Mykelti Williamson (known for roles in Forrest Gump, Fences, Ali, and The Purge) joins the show to talk about his newest film, The Last Rodeo—opening in theaters May 23.Mykelti shares how the project came together with Neil McDonough and director Jon Avnet, the deeply personal and spiritual process he brings to every role, and how his faith grounds him both on and off screen.From navigating Hollywood as a Christ follower to honoring the real-life heroes portrayed in the film, this candid conversation is full of insight, inspiration, and heart. Whether you're a film fan, a believer, or both—this one's for you.
Today we have a special episode of the podcast. Rachel interviews star Neal McDonough and director Jon Avent of THE LAST RODEO and then her and Terry give spoiler free thoughts on the film Pick up SEA LA VIE by Kelsey Whitney at https://amzn.to/4iVqOgt (ad) This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/hallmarkies and get on your way to being your best self To see the ranking https://editorial.rottentomatoes.com/guide/best-romantic-comedies-of-all-time/ For our bonus picks episode join the patreon! Follow Terry on twitter https://twitter.com/flurryheaven Follow us on ITunes https://itunes.apple.com/us/podcast/hallmarkies-podcast/id1296728288?mt=2 https://twitter.com/HallmarkiesPod on twitter @HallmarkiesPodcast on Instagram HallmarkiesPodcast.com Get some of our great podcast merch https://www.teepublic.com/stores/hallmarkies?ref_id=8581 Please support the podcast on patreon and be part of these ranking episodes at https://www.patreon.com/hallmarkies Follow Rachel's blog at http://rachelsreviews.net Follow Rachel on twitter twitter.com/rachel_reviews Follow Rachel's Reviews on youtube https://www.youtube.com/c/rachelsreviews Follow Rachel on facebook www.facebook.com/smilingldsgirlreviews Learn more about your ad choices. Visit megaphone.fm/adchoices
Send us a textEpisode 550"The War", Fried Green Tomatoes" and "The Last Rodeo" Director: Jon AvnetJon Avnet has directed some fantastic films that include "The War", "Fried Green Tomatoes" and his most recent film, "The Last Rodeo"."The War" is one of the most underrated movies of the last 30+ years. It features a very underrated performance by Kevin Coster. He produced Paul Brickman's "Risky Business" for David Geffen and Warner Brothers, which launched the career of Tom Cruise and was a major box office and critical success.Jon is best known for directing producing and co-writing (uncredited,) Fried Green Tomatoes, which garnered multiple Academy Award nominations (for writing and for Jessica Tandy, who co-starred with Kathy Bates, Cicely Tyson, Mary Stuart Masterson, and Mary Louise Parker) and BAFTAs. Fried Green Tomatoes was nominated for Best Picture by the Golden Globes and was one of the top grossing films in the year of its release for Universal Pictures. Filmed in Juliette Georgia, Production Designer Barbara Ling recreated a 1920's small town Alabama Whistle stop. Thomas Newman composed the music. Geoffrey Simpson shot the film, Debbie Neil-Fischer was the editor and David Rubin cast it, winning the Artios award for best casting.Avnet was an executive producer of Fox Searchlights "Black Swan", starring Natalie Portman (winner of the Oscar for Best Actress) and directed by Darren Aronofsky. Black Swan received five Oscar nominations in total (including Best Picture) as well as multiple nominations and wins from the DGA, PGA, WGA, SAG, BAFTA, AFI, and the Golden Globes.We talk about "The Last Rodeo", his filmography and much more.Welcome, Jon Avnet.#thewar #kevincostner #friedgreentomatoes #movies #tomcruise #waltongoggins #angelstudio #director #justified www.mmcpodcast.comReach out to anytime!Instagram: https://www.instagram.com/mondaymorningcritic/Facebook: https://www.facebook.com/mondaymorningcritic/TikTok: https://www.tiktok.com/@mondaymorningcriticMondaymorningcritic@gmail.com
Send us a textOn the podcast this time, Steven and Sean are frying up something tasty for y'all. We watched the 1991 film from Jon Avnet, Fried Green Tomatoes.To kick off our entire month full of Kathy Bates love, we present to you one of the craziest, loveliest, movingest films we've ever had the pleasure of talking about on this podcast.What do you get when you throw in a dash of death and dismemberment, a heap of the freaking Klan, and a whole soupçon of literal cannibalism? You get this incredible film, of course!Who would have ever guessed those points would also describe a movie about intergenerational storytelling and illicit lesbian feelings? We sure as heck didn't. What better way to kick off this wonderful month of love?(Recorded on October 31, 2024)Links to Stuff We Mentioned:Fried Green Tomatoes - The Movie Database (TMDB)Fried Green Tomatoes trailer - YouTubeJon Avnet — The Movie Database (TMDB)Kathy Bates — The Movie Database (TMDB)Jessica Tandy — The Movie Database (TMDB)Mary-Louise Parker — The Movie Database (TMDB)Mary Stuart Masterson — The Movie Database (TMDB)Chris O'Donnell — The Movie Database (TMDB)Gary Basaraba — The Movie Database (TMDB)Stan Shaw — The Movie Database (TMDB)Fried Green Tomatoes (1991) — The Movie Database (TMDB)Fannie Flagg - WikipediaBest Fried Green Tomatoes Recipe - Allrecipes(Enjoy what the internet claims is the best recipe for fried green tomatoes. Maybe you can start your own Whistle Stop Café off the back of this one!)Follow Us:Give us a rating and review on Apple Podcasts!Sean's Letterboxd profile!Steven's Letterboxd profile!Our Buzzsprout site!Our Instagram profile!Support the show
En la edición de hoy de El ContraPlano, el espacio dedicado al cine dentro de La ContraCrónica, los contraescuchas nos traen los siguientes títulos: 0:00 Introducción 4:02 "Pobres criaturas” (2023) de Yorgos Lanthimos - https://amzn.to/3DDkmMb 15:53 "Molly's game" (2017) de Aaron Sorkin - https://amzn.to/402l8tF 26:42 «Tomates verdes fritos» (2019) de Jon Avnet - https://amzn.to/3BXzX8L 35:56 "En las profundidades del Sena" (2024) de Xavier Gens - https://www.filmaffinity.com/es/film654978.html 39:26 "Napoleón" (2023) de Ridley Scott - https://www.filmaffinity.com/es/film188322.html Consulta en La ContraFilmoteca la selección de las mejores películas de este espacio - https://diazvillanueva.com/la-contrafilmoteca · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #cine Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals
*CONTENT WARNING THIS PODCAST & FILM FEATURES TOPICS SUCH AS SUBSTANCE ABUSE, SEX CRIMES & HUMAN TRAFFICKING #AmericanPsycho Tony Farina brings us anything but Comfort & Joy this holiday season, as we take a look at the bastardised adaptation of #BrettEastonEllis' debut novel #LessThanZero. One part nihilistic examination of Beverly Hill's Generation X and one part #NancyReagan anti-drug propaganda film. Join us as we discuss #WarAndPeace, un-arousing fully clothed sex scenes & #RobertDowneyJr's prophetic performance… #PrepareForPrattle Be sure to pick up Tony's first & second book in his (Jane) Austen Chronicles literary universe… https://www.amazon.co.uk/Welcome-Mansfield-1-Austen-Chronicles/dp/B0C4QP7RK2 Along with Vol. 1 of Comics Lit https://amzn.eu/d/dj0qM40 Here is the podcast of Ellis speaking to Less Then Zero star Andrew McCarthy on his own podcast. https://episodes.fm/753552884/episode/MTcyNTc1Nw Listen to Tony & Heath on the network that Tony founded Comics In Motion https://tinyurl.com/z92d46nr The same producer on this Jon Avnet also produced the film we talked about last time Sky Captain & The World Of Tomorrow https://tinyurl.com/msk7xjc4 As mentioned Roger Ebert did not like the last film we covered for #AlterNativityStories Better Off Dead https://tinyurl.com/2njyv56b Where to find the Spider-Dan & The Secret Bores Podcast… Follow this link to find your preferred podcast catcher of choice pod.link/danbores Facebook: https://www.facebook.com/secretbores Threads: https://www.threads.net/@spiderdansecretbores Tiktok: https://www.tiktok.com/@dan_bores Instagram: https://www.instagram.com/spiderdansecretbores/?hl=en Discord: https://discord.com/invite/CeVrdqdpjk IMDB: https://www.imdb.com/title/tt22023774/?ref_=nv_sr_srsg_0 Letterboxd: https://letterboxd.com/spiderdan_2006/ Like, share, comment, subscribe etc. and don't forget to use the #PrepareForPrattle when you interact with us. Please subscribe to The Pop Culture Collective newsletter to find out what myself, Comics In Motion and all the other related podcasts are up to week by week https://pccnewsletter.com/ I'd like to thank my patrons on #Patreon for their continuing donations it is very much appreciated and helps PrattleWorld keep turning and if you ever find yourself in a position to help the podcast please consider it. https://www.patreon.com/spiderdanandthesecretbores If you would like to make a one off donation head over to https://ko-fi.com/spiderdanandthesecretbores If you want to #JoinThePrattalion and to be briefed in full on the #SecretBores head over to #PrattleWorld https://www.spiderdanandthesecretbores.com/
In this Film Ireland podcast, Paul Farren talks to Assistant Director David McGiffert about the film industry and his book Best Seat in the House – An Assistant Director Behind the Scenes of Feature Films. Shooting a feature film is a fascinating and complex process. With his uniquely personal insight and experience, David McGiffert offers a captivating and entertaining view of moviemaking from the Best Seat in the House. Drawing from over three decades as an assistant director, McGiffert charts a revealing and informative journey through the making of many major studio productions working with noted directors such as Robert Zemeckis, Tim Burton, Cameron Crowe, Sydney Pollack, Milos Forman, Peter Weir, Steve Zaillian, Jon Avnet, and Terry Gilliam, and top actors like Tom Cruise, Michael Fox, Robert Redford, Dustin Hoffman, Michelle Pfeiffer, Paul Newman, Natalie Wood, Christopher Walken, and Robin Williams. Illustrated with photographs from across the author's cinematic career, this behind-the-scenes book is a must-read for casual moviegoers and committed film lovers alike. Best Seat in the House – An Assistant Director Behind the Scenes of Feature Films Buy the Book https://www.davidmcgiffert.com/available-at Buy on Audible https://www.audible.co.uk/pd/Best-Seat-in-the-House-Audiobook/B0CW6KB74J
The War is a 1994 American drama film directed by Jon Avnet and starring Elijah Wood, Kevin Costner, and Mare Winningham. It is a coming of age tale set in Mississippi in the 1970s. Despite a weak box-office opening and negative reviews, the film gained praise from critics for Wood's performance. Elijah Wood was nominated for a YoungStar Award in the category of Best Performance by a Young Actor in a Drama Film while Lexi Randall was nominated for a Young Artist Award in the category of Best Performance by a Young Actress Co-Starring in a Motion Picture.
On this episode, I spoke to Emmy Award-winning and Grammy-nominated composer Jeff Russo about his work on the limited series Ripley. Ripley stars Andrew Scott, Johnny Flynn and Dakota Fanning. Russo's upcoming projects include Nicholas Tomnay's What You Wish For; and FX's series Alien. His music can be heard on shows such as FX's Fargo, for which he received an Emmy in 2017 and three additional nominations; Peacock's Mrs. Davis; HBO Max's Love and Death; Amazon Prime's The Consultant; Showtime Networks' The Man Who Fell to Earth; CBS All Access's Star Trek: Discovery, and Clarice; Paramount +'s Star Trek: Picard and Star Trek: Strange New Worlds; Netflix's The Umbrella Academy; FX's Legion and Snowfall; and more. His film credits include Chiwetel Ejiofor's Rob Peace, which premiered at the 2024 Sundance Film Festival; Bartlett Sher's Oslo, which he co-scored with Zoë Keating and for which he received an Emmy nomination; Paul Dektor's American Dreamer; Sabrina Doyle's Lorelei; Noah Hawley's Lucy in the Sky; Peter Berg's action-thriller film, Mile 22; and Jon Avnet's Three Christs.
This episode we discuss the hilarious, tragic, and occasionally grim adventures (if you know you know) of a small Alabama town in Fried Green Tomatoes, directed by Jon Avnet and based on the novel by Fannie Flagg. This episode has us talking about queer and black representation, suggestive food fights and the several(?) twists and the end of the film.
Book: Fried Green Tomatoes at the Whistle Stop Café By Fannie Flagg Film: Fried Green Tomatoes at the Whistle Stop Café (1991) Fried Green Tomatoes at the Whistle Stop Cafe is a 1987 novel by American author Fannie Flagg. Set in Alabama, it weaves together the past and the present through the blossoming friendship between Evelyn Couch, a middle-aged housewife, and Ninny Threadgoode, an elderly woman who lives in a nursing home. Every week Evelyn visits Ninny, who recounts stories of her youth in Whistle Stop, Alabama, where her sister-in-law, Idgie, and her friend, Ruth, ran a café. These stories, along with Ninny's friendship, enable Evelyn to begin a new, satisfying life while allowing the people and stories of Ninny's youth to live on. The book explores themes of family, aging, lesbianism, and the dehumanizing effects of racism on both black and white people. Fried Green Tomatoes is a 1991 American comedy-drama film directed by Jon Avnet and based on Fannie Flagg's 1987 novel Fried Green Tomatoes at the Whistle Stop Cafe. Written by Flagg and Carol Sobieski, and starring Kathy Bates, Jessica Tandy, Mary Stuart Masterson, Mary-Louise Parker and Cicely Tyson, the film tells the story of a housewife who, unhappy with her life, befriends an elderly lady in a nursing home and is enthralled by the tales she tells of people she used to know. The film was released in theaters in the United States on December 27, 1991, garnered positive reviews from critics and was a box office hit, grossing $119.4 million on a $11 million budget. It was nominated for two Oscars at the 64th Academy Awards: Best Supporting Actress (Tandy) and Best Adapted Screenplay. Opening Credits; Introduction (2.29); Background History (11.59); Plot Synopsis (13.19); Book Thoughts(17.57); Let's Rate (1:06.57); Amazing Design Advertisement (16.47); Introducing a Film (1:17.57); Film Trailer (1:18.47); Lights, Camera, Action (1:21.14); How Many Stars (1:59.03); End Credits (2:09.17); Closing Credits (2:11.19) Opening Credits– Epidemic Sound – copyright 2021. All rights reserved Closing Credits: Count On Me by Bruno Mars. Taken from the album Doo-Wops and Hooligans. Copyright 2011 Atlantic/Warner Music. Original Music copyrighted 2020 Dan Hughes Music and the Literary License Podcast. All rights reserved. Used with Kind Permission. All songs available through Amazon Music.
You thought the kiss of death was bad news, you should try these movies! The whole trio is out of order! Say hello to my little three terrible movies starring Al Pacino! Forget it, Jake, it's Chinatown! THE RECRUIT (2003, Roger Donaldson) 88 MINUTES (2007, Jon Avnet) RIGHTEOUS KILL (2008, also Jon Avnet)
This episode looks at the 1984 debut novel by Bret Easton Ellis, and its 1987 film adaptation. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about 80s author Bret Easton Ellis and his 1985 novel Less Than Zero, the literal polar opposite of last week's subjects, Jay McInerney and his 1984 novel Bright Lights, Big City. As I mentioned last week, McInerney was twenty-nine when he published Bright Lights, Big City. What I forgot to mention was that he was born and raised in Hartford, Connecticut, halfway between Boston and New York City, and he would a part of that elite East Coast community that befits the upper class child of a corporate executive. Bret Easton Ellis was born and raised in Los Angeles. His father was a property developer, and his parents would divorce when he was 18. He would attend high school at The Buckley School, a college prep school in nearby Sherman Oaks, whose other famous alumni include a who's who of modern pop culture history, including Paul Thomas Anderson, Tucker Carlson, Laura Dern, Paris Hilton, Kim Kardashian, Alyssa Milano, Matthew Perry, and Nicole Richie. So they both grew up fairly well off. And they both would attend tony colleges in New England. Ellis would attend Bennington College in Vermont, a private liberal arts college whose alumni include fellow writers Jonathan Lethem and Donna Tartt, who would both graduate from Bennington the same year as Ellis, 1986. While still attending The Buckley School, the then sixteen year old Ellis would start writing the book he would call Less Than Zero, after the Elvis Costello song. The story would follow a protagonist not unlike Bret Easton Ellis and his adventures through a high school not unlike Buckley. Unlike the final product, Ellis's first draft of Less Than Zero wore its heart on its sleeve, and was written in the third person. Ellis would do a couple of rewrites of the novel during his final years at Buckley and his first years at Bennington, until his creative writing professor, true crime novelist Joe McGinness, suggested to the young writer that he revert his story back to the first person, which Ellis was at first hesitant to do. But once he did start to rewrite the story as a traditional novel, everything seemed to click. Ellis would have his book finished by the end of the year, and McGinniss was so impressed with the final product that he would submit it to his own agent to send out to publishers. Bret Easton Ellis was only a second year student at the time. And because timing is everything in life, Less Than Zero was being submitted to publishers just as Bright Lights, Big City was tearing up the best seller charts, and the publisher Simon and Schuster would purchase the rights to the book for $5,000. When the book was published in June 1985, Ellis just finished his third year at Bennington. He was only twenty-one years and three months old. Oh… also… before the book was published, the film producer Marvin Worth, whose credits included Bob Fosse's 1974 doc-drama about Lenny Bruce starring Dustin Hoffman, 1979's musical drama The Rose, Bette Midler's breakthrough film as an actress, and the 1983 Dudley Moore comedy Unfaithfully Yours, would purchase the rights to make the novel into a movie, for $7,500. The film would be produced at Twentieth Century-Fox, under the supervision of the studio's then vice president of production, Scott Rudin. The book would become a success upon its release, with young readers gravitating towards Clay and his aimless, meandering tour of the rich and decadent young adults in Los Angeles circa Christmas 1984, bouncing through parties and conversations and sex and drugs and shopping malls. One of those readers who became obsessed with the book was a then-seventeen year old Los Angeles native who had just returned to the city after three years of high school in Northern California. Me. I read Less Than Zero easily three times that summer, enraptured not only with Ellis's minimalist prose but with Clay specifically. Although I was neither bisexual nor a user of drugs, Clay was the closest thing I had ever seen to myself in a book before. I had kept in touch with my school friends from junior high while I lived in Santa Cruz, and I found myself to have drifted far away from them during my time away from them. And then when I went back to Santa Cruz shortly after Christmas in 1985, I had a similar feeling of isolation from a number of my friends there, not six months after leaving high school. I also loved how Ellis threw in a number of then-current Los Angeles-specific references, including two mentions of KROQ DJ Richard Blade, who was the coolest guy in radio on the planet. And thanks to Sirius XM and its First Wave channel, I can still listen to Richard Blade almost daily, but now from wherever I might be in the world. But I digress. My bond with Less Than Zero only deepened the next time I read it in early 1986. One of the things I used to do as a young would-be screenwriter living in Los Angeles was to try and write adaptation of novels when I wasn't going to school, going to movies, or working as a file clerk at a law firm. But one book I couldn't adapt for the life of me was Less Than Zero. Sure, there was a story there, but its episodic nature made it difficult to create a coherent storyline. Fox felt the same way, so they would hire Michael Cristofer, a Pulitzer Prize-winning playwright, to do the first draft of the script. Cristofer had just finished writing the adaptation of John Updike's The Witches of Eastwick that Mad Max director George Miller was about to direct, and he would do a literal adaptation of Ellis's book, with all the drugs and sex and violence, except for a slight rehabilitation of the lead character's sexuality. Although it was still the 1980s, with one part of the nation dramatically shifting its perspective on many types of sexuality, it was still Ronald Reagan's 1980s America, and maybe it wasn't a good idea to have the lead character be openly bisexual in a major studio motion picture. Cristofer would complete his first draft of the script in just one month, and producer Marvin Worth really loved it. Problem was, the Fox executives hated it. In a November 18th, 1987, New York Times article about the adaptation, Worth would tell writer Allen Harmetz that he thought Cristofer's script was highly commercial, because “it had something gripping to say about the dilemma of a generation to whom nothing matters.” Which, as someone who had just turned twenty years old eight days after the movie's release and four days before this article came out, I absolutely disagree with. My generation cared about a great many things. We cared about human rights. We cared about ending apartheid. We cared about ending AIDS and what was happening politically and economically. Yeah, we also cared about puffy jean jackets and neon colored clothes and other non-sensical things to take our minds off all the other junk we were dealing with, but it would be typical of a forty something screenwriter and a fiftysomething producer to thing we didn't give a damn about anything. But again, I digress. Worth and the studio would agree on one thing. It wasn't really a drug film, but about young people being destroyed by the privilege of having everything you ever wanted available to you. But the studio would want the movie version of the book to be a bit more sanitized for mainstream consumption. Goodbye, Marvin Worth. Hello, Jon Avnet. In 1986, Jon Avnet was mostly a producer of low-budget films for television, with titles like Between Two Women and Calendar Girl Murders, but he had struck gold in 1983 with a lower-budgeted studio movie with a first-time director and a little known lead actor. That movie was Risky Business, and it made that little known lead actor, Tom Cruise, a bona-fide star. Avnet, wanting to make the move out of television and onto the big screen, would hire Harley Peyton, a former script reader for former Columbia Pictures and MGM/UA head David Begelman, who you might remember from several of our previous episodes, and six-time Oscar nominated producer/screenwriter Ernest Lehman. Peyton would spend weeks in Avnet's office, pouring over every page of the book, deciding what to keep, what to toss, and what to change. Two of the first things to go were the screening of a “snuff” film on the beach, and a scene where a twelve year old girl is tied to a bedpost and raped by one of the main characters. Julian would still hustle himself out to men for money to buy drugs, but Clay would a committed heterosexual. Casting on the film would see many of Hollywood's leading younger male actors looked at for Clay, including a twenty-three year old recent transplant from Oklahoma looking not only for his first leading role, but his first speaking role on screen. Brad Pitt. The producers would instead go with twenty-four year old Andrew McCarthy, an amiable-enough actor who had already made a name for himself with such films as St. Elmo's Fire and Pretty in Pink, and who would have another hit film in Mannequin between being cast as Clay and the start of production. For Blair, they would cast Jami Gertz, who had spent years on the cusp of stardom, between her co-starring role as Muffy Tepperman on the iconic 1982 CBS series Square Pegs, to movies such as Quicksilver and Crossroads that were expected to be bigger than they ended up being. The ace up her sleeve was the upcoming vampire horror/comedy film The Lost Boys, which Warner Brothers was so certain was going to be a huge hit, they would actually move it away from its original Spring 1987 release date to a prime mid-July release. The third point in the triangle, Julian, would see Robert Downey Jr. get cast. Today, it's hard to understand just how not famous Downey was at the time. He had been featured in movies like Weird Science and Tuff Turf, and spent a year as a Not Ready For Prime Time Player on what most people agree was the single worst season of Saturday Night Live, but his star was starting to rise. What the producers did not know, and Downey did not elaborate on, was that, like Julian, Downey was falling down a spiral of drug use, which would make his performance more method-like than anyone could have guessed. The Red Hot Chili Peppers, who were hot in the Los Angeles music scene but were still a couple years from the release of their breakout album, 1989's Mothers Milk, were cast to play a band in one of the party scenes, and additional cast members would include James Spader and Lisanne Falk, who would become semi-famous two years later as one of the Heathers. Impressed with a 1984 British historical drama called Another Country featuring Colin Firth, Cary Elwes and Rupert Everett, Avnet would hire that film's 35 year old director, Marek Kanievska, to make his American directing debut. But Kanievska would be in for a major culture shock when he learned just how different the American studio system was to the British production system. Shooting on the film was set to begin in Los Angeles on May 6th, 1987, and the film was already scheduled to open in theatres barely six months later. One major element that would help keep the movie moving along was cinematographer Ed Lachman. Lachman had been working as a cinematographer for nearly 15 years, and had shot movies like Jonathan Demme's Last Embrace, Susan Sideman's Desperately Seeking Susan, and David Byrne's True Stories. Lachman knew how to keep things on track for lower budgeted movies, and at only $8m, Less Than Zero was the second lowest budgeted film for Twentieth Century-Fox for the entire year. Not that having a lower budget was going to stop Kanievska and Lachman from trying make the best film they could. They would stage the film in the garish neon lighting the 80s would be best known for, with cool flairs like lighting a poolside discussion between Clay and Julian where the ripples of the water and the underwater lights create an effect on the characters' faces that highlight Julian's literal drowning in his problems. There's also one very awesome shot where Clay's convertible, parked in the middle of a street with its top down, as we see Clay and Blair making out while scores of motorcycles loudly pass by them on either side. And there's a Steadicam shot during the party scene featuring the Chili Peppers which is supposed to be out of this world, but it's likely we'll never see it. Once the film was finished shooting and Kanievska turned in his assembly cut, the studio was not happy with the film. It was edgier than they wanted, and they had a problem with the party scene with the Peppers. Specifically, that the band was jumping around on screen, extremely sweaty, without their shirts on. It also didn't help that Larry Gordon, the President of Fox who had approved the purchase of the book, had been let go before production on the film began, and his replacement, Alan Horn, who did give the final go-ahead on the film, had also been summarily dismissed. His replacement, Leonard Goldberg, really hated the material, thought it was distasteful, but Barry Diller, the chairman of the studio, was still a supporter of the project. During all this infighting, the director, Kanievska, had been released from the film. Before any test screenings. Test screenings had really become a part of the studio modus operandi in the 1980s, and Fox would often hold their test screenings on the Fox Studio Lot in Century City. There are several screenings rooms on the Fox lot, from the 53 seat William Fox Theatre, to the 476 seat Darryl Zanuck Theatre. Most of the Less Than Zero test screenings would be held in the 120 seat Little Theatre, so that audience reactions would be easier to gauge, and should they want to keep some of the audience over for a post-screening Q&A, it would be easier to recruit eight or ten audience members. That first test screening did not go over well. Even though the screening room was filled with young people between the ages of 15 and 24, and many of them were recruited from nearby malls like the Century City Mall and the Beverly Center based off a stated liking of Andrew McCarthy, they really didn't like Jami Hertz's character, and they really hated Robert Downey Jr's. Several of the harder scenes of drug use with their characters would be toned down, either through judicious editing, or new scenes were shot, such as when Blair is seen dumping her cocaine into a bathroom sink, which was filmed without a director by the cinematographer, Ed Lachman. They'd also shoot a flashback scene to the trio's high school graduation, meant to show them in happier times. The film would be completed three weeks before its November 6th release date, and Fox would book the film into 871 theatres., going up against no less than seven other new movies, including a Shelley Long comedy, Hello Again, the fourth entry in the Death Wish series, yet another Jon Cryer high school movie, Hiding Out, a weird Patrick Swayze sci-fi movie called Steel Dawn, a relatively tame fantasy romance film from Alan Rudolph called Made in Heaven, and a movie called Ruskies which starred a very young Joaquin Phoenix when he was still known as Leaf Phoenix, while also contending with movies like Fatal Attraction, Baby Boom and Dirty Dancing, which were all still doing very well two to four months in theatres. The reviews for the film were mostly bad. If there was any saving grace critically, it would be the praise heaped upon Downey for his raw performance as a drug addict, but of course, no one knew he actually was a drug addict at that time. The film would open in fourth place with $3.01m in ticket sales, less than half of what Fatal Attraction grossed that weekend, in its eighth week of release. And the following weeks' drops would be swift and merciless. Down 36% in its second week, another 41% in its third, and had one of the worst drops in its fourth week, the four day Thanksgiving holiday weekend, when many movies were up in ticket sales. By early December, the film was mostly playing in dollar houses, and by the first of the year, Fox had already stopped tracking it, with slightly less than $12.4m in tickets sold. As of the writing of this episode, at the end of November 2022, you cannot find Less Than Zero streaming anywhere, although if you do want to see it online, it's not that hard to find. But it has been available for streaming in the past on sites like Amazon Prime and The Roku Channel, so hopefully it will find its way back to streaming in the future. Or you can find a copy of the 21 year old DVD on Amazon. Thank you for listening. We'll talk again real soon, when our final episode of 2022, Episode 96, on Michael Jackson's Thriller, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Less Than Zero the movie and the novel, and its author, Bret Easton Ellis. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This episode looks at the 1984 debut novel by Bret Easton Ellis, and its 1987 film adaptation. ----more---- Hello, and welcome to The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we're going to talk about 80s author Bret Easton Ellis and his 1985 novel Less Than Zero, the literal polar opposite of last week's subjects, Jay McInerney and his 1984 novel Bright Lights, Big City. As I mentioned last week, McInerney was twenty-nine when he published Bright Lights, Big City. What I forgot to mention was that he was born and raised in Hartford, Connecticut, halfway between Boston and New York City, and he would a part of that elite East Coast community that befits the upper class child of a corporate executive. Bret Easton Ellis was born and raised in Los Angeles. His father was a property developer, and his parents would divorce when he was 18. He would attend high school at The Buckley School, a college prep school in nearby Sherman Oaks, whose other famous alumni include a who's who of modern pop culture history, including Paul Thomas Anderson, Tucker Carlson, Laura Dern, Paris Hilton, Kim Kardashian, Alyssa Milano, Matthew Perry, and Nicole Richie. So they both grew up fairly well off. And they both would attend tony colleges in New England. Ellis would attend Bennington College in Vermont, a private liberal arts college whose alumni include fellow writers Jonathan Lethem and Donna Tartt, who would both graduate from Bennington the same year as Ellis, 1986. While still attending The Buckley School, the then sixteen year old Ellis would start writing the book he would call Less Than Zero, after the Elvis Costello song. The story would follow a protagonist not unlike Bret Easton Ellis and his adventures through a high school not unlike Buckley. Unlike the final product, Ellis's first draft of Less Than Zero wore its heart on its sleeve, and was written in the third person. Ellis would do a couple of rewrites of the novel during his final years at Buckley and his first years at Bennington, until his creative writing professor, true crime novelist Joe McGinness, suggested to the young writer that he revert his story back to the first person, which Ellis was at first hesitant to do. But once he did start to rewrite the story as a traditional novel, everything seemed to click. Ellis would have his book finished by the end of the year, and McGinniss was so impressed with the final product that he would submit it to his own agent to send out to publishers. Bret Easton Ellis was only a second year student at the time. And because timing is everything in life, Less Than Zero was being submitted to publishers just as Bright Lights, Big City was tearing up the best seller charts, and the publisher Simon and Schuster would purchase the rights to the book for $5,000. When the book was published in June 1985, Ellis just finished his third year at Bennington. He was only twenty-one years and three months old. Oh… also… before the book was published, the film producer Marvin Worth, whose credits included Bob Fosse's 1974 doc-drama about Lenny Bruce starring Dustin Hoffman, 1979's musical drama The Rose, Bette Midler's breakthrough film as an actress, and the 1983 Dudley Moore comedy Unfaithfully Yours, would purchase the rights to make the novel into a movie, for $7,500. The film would be produced at Twentieth Century-Fox, under the supervision of the studio's then vice president of production, Scott Rudin. The book would become a success upon its release, with young readers gravitating towards Clay and his aimless, meandering tour of the rich and decadent young adults in Los Angeles circa Christmas 1984, bouncing through parties and conversations and sex and drugs and shopping malls. One of those readers who became obsessed with the book was a then-seventeen year old Los Angeles native who had just returned to the city after three years of high school in Northern California. Me. I read Less Than Zero easily three times that summer, enraptured not only with Ellis's minimalist prose but with Clay specifically. Although I was neither bisexual nor a user of drugs, Clay was the closest thing I had ever seen to myself in a book before. I had kept in touch with my school friends from junior high while I lived in Santa Cruz, and I found myself to have drifted far away from them during my time away from them. And then when I went back to Santa Cruz shortly after Christmas in 1985, I had a similar feeling of isolation from a number of my friends there, not six months after leaving high school. I also loved how Ellis threw in a number of then-current Los Angeles-specific references, including two mentions of KROQ DJ Richard Blade, who was the coolest guy in radio on the planet. And thanks to Sirius XM and its First Wave channel, I can still listen to Richard Blade almost daily, but now from wherever I might be in the world. But I digress. My bond with Less Than Zero only deepened the next time I read it in early 1986. One of the things I used to do as a young would-be screenwriter living in Los Angeles was to try and write adaptation of novels when I wasn't going to school, going to movies, or working as a file clerk at a law firm. But one book I couldn't adapt for the life of me was Less Than Zero. Sure, there was a story there, but its episodic nature made it difficult to create a coherent storyline. Fox felt the same way, so they would hire Michael Cristofer, a Pulitzer Prize-winning playwright, to do the first draft of the script. Cristofer had just finished writing the adaptation of John Updike's The Witches of Eastwick that Mad Max director George Miller was about to direct, and he would do a literal adaptation of Ellis's book, with all the drugs and sex and violence, except for a slight rehabilitation of the lead character's sexuality. Although it was still the 1980s, with one part of the nation dramatically shifting its perspective on many types of sexuality, it was still Ronald Reagan's 1980s America, and maybe it wasn't a good idea to have the lead character be openly bisexual in a major studio motion picture. Cristofer would complete his first draft of the script in just one month, and producer Marvin Worth really loved it. Problem was, the Fox executives hated it. In a November 18th, 1987, New York Times article about the adaptation, Worth would tell writer Allen Harmetz that he thought Cristofer's script was highly commercial, because “it had something gripping to say about the dilemma of a generation to whom nothing matters.” Which, as someone who had just turned twenty years old eight days after the movie's release and four days before this article came out, I absolutely disagree with. My generation cared about a great many things. We cared about human rights. We cared about ending apartheid. We cared about ending AIDS and what was happening politically and economically. Yeah, we also cared about puffy jean jackets and neon colored clothes and other non-sensical things to take our minds off all the other junk we were dealing with, but it would be typical of a forty something screenwriter and a fiftysomething producer to thing we didn't give a damn about anything. But again, I digress. Worth and the studio would agree on one thing. It wasn't really a drug film, but about young people being destroyed by the privilege of having everything you ever wanted available to you. But the studio would want the movie version of the book to be a bit more sanitized for mainstream consumption. Goodbye, Marvin Worth. Hello, Jon Avnet. In 1986, Jon Avnet was mostly a producer of low-budget films for television, with titles like Between Two Women and Calendar Girl Murders, but he had struck gold in 1983 with a lower-budgeted studio movie with a first-time director and a little known lead actor. That movie was Risky Business, and it made that little known lead actor, Tom Cruise, a bona-fide star. Avnet, wanting to make the move out of television and onto the big screen, would hire Harley Peyton, a former script reader for former Columbia Pictures and MGM/UA head David Begelman, who you might remember from several of our previous episodes, and six-time Oscar nominated producer/screenwriter Ernest Lehman. Peyton would spend weeks in Avnet's office, pouring over every page of the book, deciding what to keep, what to toss, and what to change. Two of the first things to go were the screening of a “snuff” film on the beach, and a scene where a twelve year old girl is tied to a bedpost and raped by one of the main characters. Julian would still hustle himself out to men for money to buy drugs, but Clay would a committed heterosexual. Casting on the film would see many of Hollywood's leading younger male actors looked at for Clay, including a twenty-three year old recent transplant from Oklahoma looking not only for his first leading role, but his first speaking role on screen. Brad Pitt. The producers would instead go with twenty-four year old Andrew McCarthy, an amiable-enough actor who had already made a name for himself with such films as St. Elmo's Fire and Pretty in Pink, and who would have another hit film in Mannequin between being cast as Clay and the start of production. For Blair, they would cast Jami Gertz, who had spent years on the cusp of stardom, between her co-starring role as Muffy Tepperman on the iconic 1982 CBS series Square Pegs, to movies such as Quicksilver and Crossroads that were expected to be bigger than they ended up being. The ace up her sleeve was the upcoming vampire horror/comedy film The Lost Boys, which Warner Brothers was so certain was going to be a huge hit, they would actually move it away from its original Spring 1987 release date to a prime mid-July release. The third point in the triangle, Julian, would see Robert Downey Jr. get cast. Today, it's hard to understand just how not famous Downey was at the time. He had been featured in movies like Weird Science and Tuff Turf, and spent a year as a Not Ready For Prime Time Player on what most people agree was the single worst season of Saturday Night Live, but his star was starting to rise. What the producers did not know, and Downey did not elaborate on, was that, like Julian, Downey was falling down a spiral of drug use, which would make his performance more method-like than anyone could have guessed. The Red Hot Chili Peppers, who were hot in the Los Angeles music scene but were still a couple years from the release of their breakout album, 1989's Mothers Milk, were cast to play a band in one of the party scenes, and additional cast members would include James Spader and Lisanne Falk, who would become semi-famous two years later as one of the Heathers. Impressed with a 1984 British historical drama called Another Country featuring Colin Firth, Cary Elwes and Rupert Everett, Avnet would hire that film's 35 year old director, Marek Kanievska, to make his American directing debut. But Kanievska would be in for a major culture shock when he learned just how different the American studio system was to the British production system. Shooting on the film was set to begin in Los Angeles on May 6th, 1987, and the film was already scheduled to open in theatres barely six months later. One major element that would help keep the movie moving along was cinematographer Ed Lachman. Lachman had been working as a cinematographer for nearly 15 years, and had shot movies like Jonathan Demme's Last Embrace, Susan Sideman's Desperately Seeking Susan, and David Byrne's True Stories. Lachman knew how to keep things on track for lower budgeted movies, and at only $8m, Less Than Zero was the second lowest budgeted film for Twentieth Century-Fox for the entire year. Not that having a lower budget was going to stop Kanievska and Lachman from trying make the best film they could. They would stage the film in the garish neon lighting the 80s would be best known for, with cool flairs like lighting a poolside discussion between Clay and Julian where the ripples of the water and the underwater lights create an effect on the characters' faces that highlight Julian's literal drowning in his problems. There's also one very awesome shot where Clay's convertible, parked in the middle of a street with its top down, as we see Clay and Blair making out while scores of motorcycles loudly pass by them on either side. And there's a Steadicam shot during the party scene featuring the Chili Peppers which is supposed to be out of this world, but it's likely we'll never see it. Once the film was finished shooting and Kanievska turned in his assembly cut, the studio was not happy with the film. It was edgier than they wanted, and they had a problem with the party scene with the Peppers. Specifically, that the band was jumping around on screen, extremely sweaty, without their shirts on. It also didn't help that Larry Gordon, the President of Fox who had approved the purchase of the book, had been let go before production on the film began, and his replacement, Alan Horn, who did give the final go-ahead on the film, had also been summarily dismissed. His replacement, Leonard Goldberg, really hated the material, thought it was distasteful, but Barry Diller, the chairman of the studio, was still a supporter of the project. During all this infighting, the director, Kanievska, had been released from the film. Before any test screenings. Test screenings had really become a part of the studio modus operandi in the 1980s, and Fox would often hold their test screenings on the Fox Studio Lot in Century City. There are several screenings rooms on the Fox lot, from the 53 seat William Fox Theatre, to the 476 seat Darryl Zanuck Theatre. Most of the Less Than Zero test screenings would be held in the 120 seat Little Theatre, so that audience reactions would be easier to gauge, and should they want to keep some of the audience over for a post-screening Q&A, it would be easier to recruit eight or ten audience members. That first test screening did not go over well. Even though the screening room was filled with young people between the ages of 15 and 24, and many of them were recruited from nearby malls like the Century City Mall and the Beverly Center based off a stated liking of Andrew McCarthy, they really didn't like Jami Hertz's character, and they really hated Robert Downey Jr's. Several of the harder scenes of drug use with their characters would be toned down, either through judicious editing, or new scenes were shot, such as when Blair is seen dumping her cocaine into a bathroom sink, which was filmed without a director by the cinematographer, Ed Lachman. They'd also shoot a flashback scene to the trio's high school graduation, meant to show them in happier times. The film would be completed three weeks before its November 6th release date, and Fox would book the film into 871 theatres., going up against no less than seven other new movies, including a Shelley Long comedy, Hello Again, the fourth entry in the Death Wish series, yet another Jon Cryer high school movie, Hiding Out, a weird Patrick Swayze sci-fi movie called Steel Dawn, a relatively tame fantasy romance film from Alan Rudolph called Made in Heaven, and a movie called Ruskies which starred a very young Joaquin Phoenix when he was still known as Leaf Phoenix, while also contending with movies like Fatal Attraction, Baby Boom and Dirty Dancing, which were all still doing very well two to four months in theatres. The reviews for the film were mostly bad. If there was any saving grace critically, it would be the praise heaped upon Downey for his raw performance as a drug addict, but of course, no one knew he actually was a drug addict at that time. The film would open in fourth place with $3.01m in ticket sales, less than half of what Fatal Attraction grossed that weekend, in its eighth week of release. And the following weeks' drops would be swift and merciless. Down 36% in its second week, another 41% in its third, and had one of the worst drops in its fourth week, the four day Thanksgiving holiday weekend, when many movies were up in ticket sales. By early December, the film was mostly playing in dollar houses, and by the first of the year, Fox had already stopped tracking it, with slightly less than $12.4m in tickets sold. As of the writing of this episode, at the end of November 2022, you cannot find Less Than Zero streaming anywhere, although if you do want to see it online, it's not that hard to find. But it has been available for streaming in the past on sites like Amazon Prime and The Roku Channel, so hopefully it will find its way back to streaming in the future. Or you can find a copy of the 21 year old DVD on Amazon. Thank you for listening. We'll talk again real soon, when our final episode of 2022, Episode 96, on Michael Jackson's Thriller, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Less Than Zero the movie and the novel, and its author, Bret Easton Ellis. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Director David O. Russell discusses his new film, Amsterdam, with fellow director Jon Avnet in a Q&A at the DGA theater in Los Angeles. In the conversation, Russell speaks about setting the tone of the movie with his actors, capturing intimacy and immediacy with the camera, and how he personally connected with the story. Set in the 1930s, the film follows a doctor, a nurse, and a lawyer who witness a murder, become suspects themselves, and uncover one of the most secret plots in American history. Please note: spoilers are included. See photos and a summary of this event below: https://www.dga.org/Events/2022/November2022/Amsterdam_QnA_1022.aspx
Tornano in puntata Michela Gorini e Sabina Spazzoli per parlare di "Pomodori verdi fritti alla fermata del treno" (Fried Green Tomatoes) un film che viaggia su due binari paralleli, da un lato siamo negli anni '80 dove Evelyn (Kathy Bates) grazie all'incontro e all'amicizia con Ninny (Jessica Tandy) e i suoi racconti di un'America lontana riesce a mettersi davanti allo specchio per prendere in mano la sua vita sconvolgendola positivamente; dall'altro lato siamo sul finire degli anni '30 dove viene raccontata l'amicizia tra Idgie (Mary Stuart Masterson) e Ruth (Mari-Louise Masterson), donne ribelli e libere che sfidano le convenzioni del tempo.
País Estados Unidos Dirección Jon Avnet Guion Eric Nazarian, Jon Avnet, Eric Nazarian. Libro: Milton Rokeach Música Jeff Russo Fotografía Denis Lenoir Reparto Richard Gere, Peter Dinklage, Walton Goggins, Bradley Whitford, Charlotte Hope, Julianna Margulies, Kevin Pollak, James Monroe Iglehart, Stephen Root, Jane Alexander Sinopsis El doctor Alan Stone está tratando a tres pacientes esquizofrénicos paranoicos en el Hospital Estatal de Ypsilanti en Michigan. Cada uno de ellos se cree que es Jesucristo.
Jessica McClintock (1988) + Herbert Ross's Steel Magnolias (1989) + Jon Avnet's Fried Green Tomatoes (1991) + Rebecca Wells's Divine Secrets of the Ya-Ya Sisterhood (1996) with Red Pill Girlfriend
In this episode of Frankly Speaking with Lynne Franks and Friends, Lynne is joined by producer, actor, fashion designer and author Sadie Frost. They discuss her career to date and why she decided to make her first feature length documentary film QUANT, which Lynne selected as the SEED movie for their International Women's Day celebrations for 2022. In this interview Sadie and Lynne speak openly about mental health, the challenges of being a woman and mother in the film industry as well as the importance of finding a community with other women to support and work with.Sadie has over four decades experience in film, theatre and television. As an actor Sadie starred in globally acclaimed films such as Francis Ford Coppola's BRAM STOKER'S DRACULA alongside Keanu Reeves, Gary Oldman and Winona Ryder, and heavyweight television dramas such as Jon Avnet's UPRISING.As a fledgling producer, Sadie set up production company Natural Nylon with fellow actors Jude Law, Ewan McGregor and Jonny Lee Miller, which went on to make EXISTENZ, NORA, XX/XY, TO KILL A KING, OWNING MAHOWNY and SKY CAPTAIN AND THE WORLD OF TOMORROW, starring Gwyneth Paltrow and Angelina Jolie.After this success, Sadie went on to co-found Blonde to Black Pictures to develop more diverse and challenging projects while helping to nurture exciting new talent. So far Blonde to Black Pictures has produced RAGS, the feature film TWO FOR JOY and shorts RUNNING MAN and CONTACT, also directed by Sadie.Sadie directed a documentary about the iconic British fashion designer Mary Quant. Produced by Goldfinch Entertainment and stars people such as Edward Enniful, Kate Moss, Vivienne Westwood, Charlotte Tilbury, Dave Davies and Pete Townshend. The documentary was screened on major platforms and premiered at The London Film Festival.Sadie's latest acting roles have been in films such as NOCTURNAL (Dir-Nathalie Biancheri), LUCID (Dir- Adam Morse), WAITING FOR ANYA (Directed by Ben Cookson) and A BIRD FLEW IN (directed by Kirsty Bell), which was released in 2021. Sadie co starred along side Frances Barber, Derek Jacobi and Camilla Rutherford. Sadie has recently starred in THE CHELSEA COWBOY (directed by Ben Cookson), alongside Alex Pettyfer, Poppy Delevinge and Charlie Creed Miles.Blonde to Black Pictures has five films in development, including LIVE FOREVER directed by Matt Whitecross, CUNNINGm directed by Tom Beard, and THE PARCEL to be shot in India. She has three new documentaries in development about fashion, film and culture.Sadie completed an MA in film production with Raindance at Staffordshire University, she did this as a mature student and her thesis was centred around how women's career in films are affected or not affected when raising children.Sadie also has a sustainable, active-wear clothing line called Frost - Body.Find Sadie Frost on IMDb.If you like what you hear, and want to find out more about our community of like-minded women who believe in living and working in alignment with the feminine values of collaboration, authenticity and most of all, love, you can learn more at https://seednetwork.com and join the community in the SEED Hub Club by visiting https://www.theseedhub.club/You can find Lynne on Instagram at @lynnejfranks, Facebook @lynnefranksobe, Twitter @Lynne_Franks, LinkedIn @Lynne Franks OBE.This episode was produced by Lynne Franks and Tanya Anastasiadis.Production support and graphics by Lotte Micklethwaite.Music by Joolz Barker
I afsnit #015 af Den Lille Filmklub snakker vi om 90'er-klassikkeren "Fried Green Tomatoes" af Jon Avnet med Mary Stuart Masterson, Mary-Louise Parker, Jessica Tandy og Kathy Bates i hovedrollerne. Lyt med og få en gennemgang af Hollywoods queer-historie, vores syn på om Idgy er edgy, og om der kan være for mange temaer i én film. 00:00 - Indledning 01:45 - Hvordan går det? 09:32 - Fried Green Tomatoes (Spoiler Alert) 1:21:05 - Hvad skal vi se til næste gang? Værter: Andreas Hebo, Nicolai Kvistgaard og Søren Berthelsen Efter idé af: Nicolai Kvistgaard Produktion, Musik og Digitalt indhold af: Andreas Hebo Social Media Ansvarlig: Simon Bro Speaker: Rikke Stächer Christensen
**TW/CW - Domestic Abuse/Racism**0:00-Intro and Movie Summary2:00-Movie Discussion1:02:41- Cast & Crew; Awards1:10:57- Pop Culture1:15:17-Music & TV1:18:13-Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!
Watch out for that tree! How did this short lived 1960's animated parody of Tarzan turn into a live-action comedy for kids that introduced a generation to making fun of movies, breaking the fourth wall, and the British humour of John Cleese. Grab a vine and swing on by as we discuss "George of the Jungle". Music and audio from "George of the Jungle" is the property of Marc Shaiman, David Hoberman, Jordan Kerner, Jon Avnet, Walt Disney Pictures, Mandeville Films, Jay Ward Productions, and The Kerner Entertainment Company. The intro and outro music was created by Cackles and Jeremy Eckert. We thank them for their generous support of this podcast. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com.
Andrew McCarthy August begins at ReconCinemation! Join the lovely lads of podcasting as they take in some of Mr. McCarthy's greatest works from his decade of dominance: the 1980s. This week, Jon, David & Brent are dialing back to 1987 with one of Andrew's more serious fare, LESS THAN ZERO! The transition from novel to screenplay, the vast differences between Bret Easton Ellis' novel and the film, the inevitability of the Brat Pack being involved, the casting of McCarthy, Jami Gertz, Robert Downey Jr & James Spader are all discussed! Plus, the impact this had on Downey (personally & professionally), how Jon Avnet changed the direction of this picture, where this stood in Andrew McCarthy's career, the depth of some of the performances, early memories of the film, how it holds up today & much, much more! In Beverly Hills, you can have every podcast your heart desires... it's LESS THAN ZERO! Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)
Tra film di varia natura ed interpretazioni più o meno memorabili, si consuma la monografia della brava e bella Michelle Pfeiffer, tra le parole e le opinioni dei soliti Houssy e Carfa. Monografia dedicata all'amico JoJo, che la desiderava follemente.Elenco dei film citati:Grease 2, regia di Patricia Birch (1982)Scarface, regia di Brian De Palma (1983)Tutto in una notte (Into the night), regia di John Landis (1985)Ladyhawke, regia di Richard Donner (1985)Sweet Liberty - La dolce indipendenza (Sweet Liberty), regia di Alan Alda (1986)Le streghe di Eastwick (The Witches of Eastwick), regia di George Miller (1987)Donne amazzoni sulla Luna (Amazon women on the moon), regia di Joe Dante e John Landis (1987)Una vedova allegra... ma non troppo (Married to the Mob), regia di Jonathan Demme (1988)Tequila Connection (Tequila Sunrise), regia di Robert Towne (1988)Le relazioni pericolose (Dangerous Liaisons), regia di Stephen Frears (1988)I favolosi Baker (The Fabulous Baker Boys), regia di Steve Kloves (1989)La casa Russia (The Russia House), regia di Fred Schepisi (1990)Paura d'amare (Frankie and Johnny), regia di Garry Marshall (1991)Batman - Il ritorno (Batman Returns), regia di Tim Burton (1992)Due sconosciuti, un destino (Love Field), di Jonathan Kaplan (1993)L'età dell'innocenza (The Age of Innocence), regia di Martin Scorsese (1993)Wolf - La belva è fuori (Wolf), regia di Mike Nichols (1994)Pensieri pericolosi (Dangerous Minds), regia di John N. Smith (1995)Qualcosa di personale (Up Close & Personal), regia di Jon Avnet (1996)A Gillian, per il suo compleanno (To Gillian on Her 37th Birthday), regia di Michael Pressman (1996)Un giorno... per caso (One Fine Day), regia di Michael Hoffman (1996)Segreti (A Thousand Acres), regia di Jocelyn Moorhouse (1997)Sogno di una notte di mezza estate (A Midsummer Night's Dream), regia di Michael Hoffman (1999)Storia di noi due (The Story of Us), regia di Rob Reiner (1999)Le verità nascoste (What Lies Beneath), regia di Robert Zemeckis (2000)Mi chiamo Sam (I Am Sam), regia di Jessie Nelson (2001)White Oleander, regia di Peter Kosminsky (2002)Hairspray - Grasso è bello (Hairspray), regia di Adam Shankman (2007)Stardust, regia di Matthew Vaughn (2007)Chéri, regia di Stephen Frears (2009)Capodanno a New York (New Year's Eve), regia di Garry Marshall (2011)Dark Shadows, regia di Tim Burton (2012)Cose nostre - Malavita (The Family), regia di Luc Besson (2013)Madre! (Mother!), regia di Darren Aronofsky (2017)Assassinio sull'Orient Express (Murder on the Orient Express), regia di Kenneth Branagh (2017)Ant-Man and the Wasp, regia di Peyton Reed (2018)Avengers: Endgame, regia di Anthony e Joe Russo (2019) - cameoMaleficent - Signora del male (Maleficent: Mistress of Evil), regia di Joachim Rønning (2019)
Ding-diddly-ding-diddly-ding-dang-dong! Welcome to the ninth episode of The You Show, Show. Come join Mark Sannito and I, as we talk about, “The War.” Directed by Jon Avnet.Instagram: @theyoushowshowFacebook: @TheYouShowShowWebsite: calvinlazermcmurray.comEmail: theyoushowshow@gmail.com
"I don't know what's worse, church or jail." Fried Green Tomatoes (1991) directed by Jon Avnet and starring Kathy Bates, Mary Stuart Masterson, Mary-Louise Parker, Jessica Tandy and Cicely Tyson. Next Time: Wild Hearts Can't Be Broken (1991)
Aline Gérard, la créatrice culinaire de www.latabledaline.be nous propose ses recettes de beignets de tomates vertes, inspirée du film de Jon Avnet du début des années 90.
Monday Morning Critic Podcast! Episode 222. "The Night Of" Composer: Jeff Russo. Instagram: Monday Morning Critic Twitter: @mdmcritic Facebook: Monday Morning Critic Podcast Email: www.mmcpodcast.com Two-time Grammy nominee and Emmy-winning composer Jeff Russo is at the top of his field, scoring varied and compelling music for television, film and video games. Russo won the Emmy and received two additional Emmy nominations for his thrilling and angst-producing score on FX’s Emmy and Golden Globe-winning series “Fargo.” He currently scores two Peabody Award-nominated shows: CBS’s reimagining of the iconic cult-classic series “Star Trek: Discovery;” and FX’s “Legion,” starring Dan Stevens and Aubrey Plaza; as well as Netflix’s “The Umbrella Academy,” starring Ellen Page, Tom Hopper and Mary J. Blige, based on the popular comic book series by Gerard Way and Gabriel Ba; and Noah Hawley’s feature directorial debut from Fox Searchlight, “Lucy In the Sky,” starring Natalie Portman and John Hamm. His recent film work further includes scoring Mark Wahlberg’s action-thriller film, “Mile 22” Craig Macneill’s “Lizzie,” starring Chloe Sevigny and Kristen Stewart, which premiered at the 2018 Sundance Film Festival before releasing in theaters; and Jon Avnet’s “Three Christs,” starring Richard Gere, which premiered at the 2017 Toronto International Film Festival. Russo has scored several hit TV series such as Starz’s “Counterpart,” starring J.K. Simmons; “Power,” produced by Curtis Jackson “50 Cent;” HBO’s Golden Globe and Emmy-nominated series “The Night Of,” starring John Turturro; FX’s John Singleton series, “Snowfall;” and the Netflix original show, “Altered Carbon.” In addition to film and television, Russo received a BAFTA nomination for Best Music for Annapurna Interactive’s indie video game, “What Remains of Edith Finch.” Russo began his music career in 1990, after founding his rock band TONIC. The group quickly achieved great success and in 2003, received two Grammy nominations, one for "Best Rock Performance by a Duo or Group with Vocal" for "Take Me As I Am," and one for "Best Rock Album.” The band was a great showcase for Russo’s guitar work and songwriting that allowed him to branch out and begin his solo career in producing and composing. According to Variety Magazine, “Jeff Russo understands how music can affect an audience. When music is employed, he sees it as an enhancement to character development, and is careful to create music that subtly flows with the action and visuals of the scene.”
Primo tassello di una trilogia che andrà ad esplorare il piacere.Elenco dei film citati:La febbre dell’oro (Charlie Chaplin, 1925)Fantozzi (Luciano Salce, 1975)Fracchia la belva umana (Neri Parenti, 1981)Un americano a Roma (Steno, 1954)7 chili in 7 giorni (Luca Verdone, 1986)Lilli e il vagabondo (1955)Ratatouille (Brad Bird, 2007)Piovono polpette (Phil Lord, 2009)Pulp Fiction (Quentin Tarantino, 1994)Harry ti presento Sally (Rob Reiner, 1989)Il padrino (Francis Ford Coppola, 1972)Indiana Jones e il tempio maledetto (Steven Spielberg, 1984)Festen (Thomas Vinterberg, 1998)Il pranzo di Babette (Gabriel Axel, 1987)Vatel (Roland Joffé, 2000)Big night (Stanley Tucci, Campbell Scott, 1996)Come l’acqua per il cioccolato (Alfonso Arau, 1992)Pomodori verdi fritti (Jon Avnet, 1991)Il fascino discreto della borghesia (Luis Bunuel, 1972)Supersize me 1 & 2 (Morgan Spurlock, 2004 - 2017)Il senso della vita (Terry Jones, 1983)Il dormiglione (Woody Allen, 1973)The stuff (Rob Cohen, 1985)
Neste episódio, o filme em debate é "Tomate Verdes Fritos", produção americana de 1991, dirigida por Jon Avnet e baseada no livro homônimo de Fannie Flagg. O filme traz no elenco Jessica Tandy, Mary Stuart Masterson, Kathy Bates e Mary-Louise Parker. Participam do debate: Maria Angela Palla e Heleny Silvia Scrocchio. Mediação: Ana Paula Dias Rodrigues. Edição: Jeff Santanielo. Músicas incidentais: Spirit by Sappheiros - Chill Background Music For Videos.
Core events, mini-plots, and nested stories are on the menu this week as the Roundtablers analyze the 1991 film Fried Green Tomatoes, directed by Jon Avnet from a screenplay by Fannie Flagg and Carol Sobieski, based on Flagg’s 1987 novel, Fried Green Tomatoes at the Whistle Stop Cafe.Each week one of the Roundtable team—Valerie Francis, Kim Kessler, or Leslie Watts—aims to get to the bottom of a specific story principle by analyzing a film, novel, or short story. The rest of us analyze the story according to our own chosen topics, and together we deepen our knowledge and level up our craft.Click here for the complete show notes.
*We have some audio struggles/weird background noise in this episode. Stick with it please, Fried Green Tomatoes is worth it.* This week on Have You Heard Of...Emma introduces Jenny to the decades-spanning testament to friendship and romance (yes, it's a romance) 1991 film Fried Green Tomatoes. We'll be talking about not understanding 70's gameshows, Jon Avnet's fear of telling stories about women, and the importance of making sure your coworkers have a proper handle on what your tastes in movies are. Will Jenny love Fried Green Tomatoes? Or will Emma be left to wonder alone what becomes of the brokenhearted? Jenny's Unshareables: Erase Your Face cloths, singing the praises of fangirls who translate K-pop videos. Music: Something Elated by Broke For Free ***Star Chart Chase Score*** Emma - 3 1/2 Jenny - 4
Segundo programa del confinamiento donde hablaremos de cine en plataformas, clásicos del siglo XX y series. Tu momento de cine y series para olvidar el Coronavirus. No nos falten. A continuación el contenido completo del programa: 0' - Presentación. 2' - Disney + y recomendación infantil. 5' - Cinéfilo viajero (Premios Platino + ConfinAcción Fest + Atlántida en Filmin) 11' - La morgue (especial Lucía Bosé y A. Uderzo) 18' - Iniciativas Avalon y Acontracorriente. 20' - ESTRENOS VoD: - Stuber Express (Movistar +) - 37 segundos (Netflix) - Troop Zero (Amazon Prime) - Violet y Finch (Netflix) - El banquero (Apple tv) 61' - LOS CLÁSICOS: - Rebeca (Alfred Hitchcock, 1940) - Tomates verdes fritos (Jon Avnet, 1991) 84' - SERIES TV: - Locke and key (Netflix) - Élite T3 (Netflix) - El visitante (HBO) 93' - Despedida con música del difunto Kenny Rogers.
Director Jon Avnet discusses his new film, Three Christs, with fellow director Rodrigo García. The film follows a Michigan psychiatrist as he treats three paranoid schizophrenic patients, each of whom believes that he is Jesus Christ. Please note spoilers are included. See photos and a summary of this event below: https://www.dga.org/Events/2020/March2020/JonAvnet_discusses_ThreeChrists_QnA_0120.aspx
MISERY (1990) proves subtle terror can be just as effective as straight up horror. Marking the second collaboration between legendary author Stephen King and director Rob Reiner, MISERY grips audiences of every kind, leaving behind hauntingly iconic images. Thirty years later, this critically-acclaimed and disturbingly enjoyable film is still one of the most memorable psychological thrillers around. And also makes us rethink how to use a typewriter and a sledgehammer. ▶️Synopsis: A renowned author has a near-fatal car accident, only to be rescued by a nurse claiming to be his number one fan... and who holds him captive with no intention of ever letting him leave. ⏩⏩Discussions include: Adapting of King’s novel for the screen and the differences therein; themes behind the story and why Reiner was drawn to MISERY; the cast and working dynamic between Bates and Caan; themes, tone and the film as a character study; the vicious ending, behind the scenes production and special effects. **Starring Kathy Bates, James Caan, Richard Farnsworth. Directed by Rob Reiner.** ▶️**PICKS OF THE WEEK** —Lindsay’s Pick, FRIED GREEN TOMATOES (1991): An unfulfilled housewife befriends and becomes inspired by an elderly woman who recounts tall tales from her youth and the story of two best friends. **Starring Kathy Bates, Jessica Tandy, Mary Stuart Masterson, Mary-Louise Parker, Cicely Tyson. Directed by Jon Avnet.** —Justin’s Pick, DOLORES CLAIBORNE (1995): A housekeeper is accused of murdering her employer, so her daughter begins to investigate the situation, only to uncover shocking revelations about their family’s past. **Starring Kathy Bates, Jennifer Jason Leigh, David Strathairn. Directed by Taylor Hackford.** ▶️MURRAYMOMENT: Billy, James Caan, Benicio del Toro and Robert Duvall take a little trip to Cuba. ▶️FINAL THOUGHTS: Addressing any confusion about the Misery books discussed, Lauren Bacall and Barry Sonnenfeld. ▶️NEXT UP: TRUE ROMANCE (1993)!
Three Christs director Jon Avnet has one of the most impressive IMDb pages in Hollywood: He produced films from Risky Business to Black Swan, and has worked with everyone from Tom Cruise to Joan Didion. He's also faced a lot of rejection — and figured out how to get past it.Three Christs, which Avnet co-wrote as well as directed, stars Richard Gere as a psychologist in the 1950s trying to treat three schizophrenic men who all believe themselves to be Jesus Christ. They’re played by Peter Dinklage, Walton Goggins and Bradley Whitford.In the new MovieMaker Interviews podcast, Avnet talks about why he wanted to get the mostly true story to the screen, and what he learned in the process. He also gives an amazing crash course on Hollywood perseverance, and gives inside accounts of projects from Risky Business to FX's Justified to Up Close and Personal, the film he directed that starred Robert Redford and Michelle Pfeiffer and was written by John Gregory Dunne and Didion. And he tells us about his gift for getting people who shut him down professionally to change their minds.As we spoke Avnet was hard at work on Four Good Days, a film he’s producing that is directed by Rodrigo Garcia. It stars Mila Kunis as a woman dealing with addiction, and Glenn Close as her mother, who is trying to help her. It premieres this Saturday at the Sundance Film Festival.Here are highlights of the episode, with timestamps:2:00: Interview begins, with a discussion of Three Christs.5:20: Here's how much Jon Avnet likes research.13:30: Working with Joan Didion and John Griffin Dunne on Up Close and Personal.23:30: Let's talk about Tom Cruise's Risky Business underwear slide.26:55: A few words about perseverance: "Most people who do what I do deal with rejection all the time."28:00: "Don't say no — say maybe."31:55: Dealing with critics: "You got to make the movie. They didn't."36:30: "Jump in the steam of life and maybe you'll go down the river a little bit." See acast.com/privacy for privacy and opt-out information.
Director Jon Avnet rings in the new year with host Robin Milling to chat about his new film Three Christs. Currently playing in theaters it stars the triumverate threat of Peter Dinklage, Walton Goggins and Bradley Whitford as paranoid schizophrenics who each believe they're Jesus Christ. Led by the calming and spiritual guidance of Richard Gere who portrays the doctor that saves them from certain dangerous medical solutions, and instead treats them with reason. Avnet shares stories about his long-standing friendship with Gere which dates back to working together on Red Corner in 1997, and how they collaborated on bringing this story to the screen. Avnet - who also co-wrote the screenplay - tells Robin he did his homework, working with reknowned pyschoanalyst Dr. Aaron Stern to get all the details right. He also relates some of the happy accidents that occurred while filming this important cautionary tale about medical abuse.
Jon Avnet has directed, written, and produced dozens of motion pictures, television movies and Broadway plays, winning Oscars, Emmys, Tonys, Peabody's, DGA Awards, the Humanitas, Golden Globes and the AFI's Franklin Shaffner Medal. Avnet is known for his work as a director on movies like ‘Fried Green Tomatoes,’ ‘The War,’ ‘Up Close & Personal,’ ’88 Minutes,’ and ‘Righteous Kill.’ Recently, he’s also directed shows like ‘Rake,’ ‘Justified,’ Sneaky Pete,’ and ‘Manhunt.’ The director’s latest film deals with identity, but also schizophrenia. ‘Three Christs’ follows Dr. Alan Stone who is treating three paranoid schizophrenic patients at the Ypsilanti State Hospital in Michigan, each of whom believed they were Jesus Christ. Based on a book, the film stars Richard Gere as Stone, and Peter Dinklage, Walton Goggins, and Bradley Whitford as the patients. In the interview, Avnet discusses the differences and similarities of the characters in ‘Three Christs,’ why he’s “frustratingly slow” at casting, why some TV shows aren’t as good as they should be, why he produced ‘Black Swan,’ why filmmakers should appreciate rejection, and how obsession helps with career longevity. If you enjoyed this interview, join millions of viewers for the new YouTube video essay series, Creative Principles, which dissects new films, series, and more: bit.ly/2FARJz5
Director Jason Reitman discusses his film, The Front Runner, with fellow director Jon Avnet. The film follows the true story of Senator Gary Hart who was considered the front runner for the 1988 Democratic presidential nomination until an extramarrital relationship sidelined his campaign. He was forced to drop out of the race as tabloid and political journalism began to merge -- a phenomenon that would leave a lasting impact on American politics. See photos and a summary of this event below: https://www.dga.org/Events/2019/Jan2019/FrontRunner_QnA_1118.aspx
In this episode of Adapt or Perish, we discuss Fannie Flagg’s Fried Green Tomatoes at the Whistle Stop Cafe! For this episode, we read and watched: Fannie Flagg’s original 1987 novel. Read it on Amazon or iBooks. Fried Green Tomatoes, the Academy Award-nominated, 1991 movie adaptation, directed by Jon Avnet, and starring Kathy Bates, Jessica Tandy, Mary Stuart Masterson, and Mary-Louise Parker. Watch it on iTunes or Amazon. Footnotes: Famous recluse, Harper Lee The Blues Brothers, and Jake’s religious experience Intersectionality The career of Jon Avnet, according to the Justified Wiki. Also, Jeremy thinks Justified is a great show. You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.
Sky Captain and the World of Tomorrow. It took four years of blue screen shooting in his living room and work on a Macintosh II for Kerry Conran to complete his black and white short of Sky Captain and the World of Tomorrow. Through a friend of his brother's wife, he was introduced to producer Jon Avnet who shepherded the project into a full-length feature film that would stretch the limits of computer technology. In this episode of The 602 Club host Matthew Rushing is joined by Megan Calcote and Darren Moser to talk about Sky Captain and the World of Tomorrow. We discuss our first encounters with the movie, the story, the revolutionary nature of the film, the look, the fun sci-fi gadgets, the cast and characters, the music, wrapping up with final thoughts, ratings and why everyone should watch Sky Captain. Host Matthew Rushing Guests Megan Calcote Darren Moser Editor and Producer Matthew Rushing Richard Marquez Associate Producers Norman C. Lao Kenneth Trip Production Manager Richard Marquez Content Coordinator Will Nguyen Chapters Sky Captain (00:02:49) The First Time (00:03:48) The Story (00:10:59 Completely New (00:19:14) The Look (00:31:34) Fun Sci-Fi Toys (00:42:12) Cast & Characters (00:44:47) Music (00:52:17) Final Thoughts (00:54:43) Closing (00:57:18) Send us your feedback! Twitter: @trekfm Facebook: http://facebook.com/trekfm Voicemail: http://www.speakpipe.com/trekfm Contact Form: http://www.trek.fm/contact Visit the Trek.fm website at http://trek.fm/ Subscribe in iTunes: http://itunes.com/trekfm Support the Network! Become a Trek.fm Patron on Patreon and help us keep our shows coming to you every week. We have great perks for you at http://patreon.com/trekfm
In honor of the film’s 30th anniversary, “Risky Business” writer and director Paul Brickman, award-winning producer Jon Avnet and co-star Curtis Armstrong paid a visit to UCSB, discussing the film’s creative development and the movie-making process. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 27696]
In honor of the film’s 30th anniversary, “Risky Business” writer and director Paul Brickman, award-winning producer Jon Avnet and co-star Curtis Armstrong paid a visit to UCSB, discussing the film’s creative development and the movie-making process. Series: "Carsey-Wolf Center" [Humanities] [Show ID: 27696]
Director/producer Jon Avnet discusses the making of his film "Righteous Kill" and the acting tour de force of the film's stars: veteran Academy Award winners Robert DeNiro and Al Pacino. "Righteous Kill" opened in theaters September 12, 2008.
Director/producer Jon Avnet discusses the making of his film "Righteous Kill" and the acting tour de force of the film's stars: veteran Academy Award winners Robert DeNiro and Al Pacino. "Righteous Kill" opened in theaters September 12, 2008.
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