English actress and author
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The Irish novelist has always been open to where life can unexpectedly take him, and the excitement that comes with that kind of freedom.Colm Toibin's first big move was from rural Ireland to Dublin after his father died when he was young. Then, it was off to experience the wild hedonism and sexual liberation of post-Franco Spain, a pleasant shock after needing a prescription to buy condoms in Ireland.Since then, he's journeyed to Sudan, Los Angeles, New York and beyond.Wherever Colm goes, he keeps a running list in his head of tiny details — observations of seemingly mundane encounters, an offhand comment or the cut of a lady's suit on a train.Every now and then, these details bubble up in Colm's memory and another of his well-loved novels, like Brooklyn, Nora Webster or The Master, is born.This episode was produced by Meggie Morris. Conversations Executive Producer is Nicola Harrison. Presented by Sarah Kanowski.It explores film adaptations, death of a parent, grief, Ireland, homophobia, growing up gay, Catholicism, epic adventure, John Crowley, Nick Hornby, Saoirse Ronan, Domhnall Gleeson, Julie Walters, Dublin, immigrant experience, the Irish immigrant experience, family separation, origin stories, falling in love, books, writers, novels, life-story, family dynamics, reflection, loss, funny, comedy, repression, orgies, condom prescriptions, journalism, foreign correspondents.Colm's latest novel Long Island is published by Pan MacMillan.He was in Australia as a guest of the Wheeler Centre, RMIT, Melbourne Writers Festival and Sydney Writers Festival.
#356 Gravity - Rich has had what he thought might be the most middle class accident, but he is wrong. His guest is a listener who has won a competition to be on the show, the Dorian Grey of morning TV, Ben Shephard. They discuss how science proves Ben a better singer than a West End star, whether there's a man with a broom behind the Tipping Point machine, revenge as a dish served very cold, why Rich was fired from morning television, how Ben's charity work found him at Buckingham Palace and what Richard had to do for the same invitation, feeling up Julie Walters, plus a classic emergency question and Ben turning the tables and asking some stuff about testicles that he might not do on morning telly.SUPPORT THE SHOW!Support the CAN I HAVE MY BALL BACK KICKSTARTERWatch our TWITCH CHANNELBecome a badger and see extra content at our WEBSITESee details of the RHLSTP TOUR DATESBuy DVDs and Books from GO FASTER STRIPE Become a member at https://plus.acast.com/s/rhlstp. Hosted on Acast. See acast.com/privacy for more information.
Book Vs. Movie: Mamma MiaABBA Gold Vs. Mamma Mia “Musicals in March!”Mamma Mia! is a jukebox musical that features the songs of ABBA, the Swedish pop group composed of Benny Andersson, Björn Ulvaeus, Agnetha Fältskog, and Anni-Frid Lyngstad. The musical was created by British playwright Catherine Johnson, with music by Andersson and Ulvaeus, and premiered in London's West End in 1999. The show was a massive success, leading to multiple international productions, including a Broadway run from 2001 to 2015.Set on a fictional Greek island, Mamma Mia! follows Sophie Sheridan, a young bride-to-be who secretly invites three men from her mother Donna's past to her wedding, hoping to discover which one is her father. Donna, a former singer with the girl group "Donna and the Dynamos," is unaware of Sophie's plan and is shocked when her past lovers—Sam, Harry, and Bill—arrive. The story unfolds with comedy, romance, and ABBA's iconic hits, including Dancing Queen, Super Trouper, The Winner Takes It All, and Mamma Mia.We are comparing the band catalog to this interpretation. Which version did we prefer? Listen to find out! In this ep, the Margos discuss:The history of the band and their domination of the 1970s The road from the stage version to the filmThe cast includes Meryl Streep (Donna Sheridan,) Pierce Brosnan (Sam Carmichael,) Colin Firth (Harry Bright,) Stellan Skarsgard (Bill Anderson,) Julie Walters (Rosie Mulligan,) Dominic Cooper (Sky Rymand,) Amanda Seyfried (Sophie Sheridan,) Christine Baranski (Tanya Chesham-Leigh,) and Rachel McDowall as Lisa. Clips Featured:“Dancing Queen”ABBA at the 1974 Eruovision ContestABBA “Waterloo” 1975Frida “There's Something Going On”Mamma Mia 2018 movie trailer“Does Your Mother Know” (Mamma Mia)“Mamma Mia”//Mamma MiaMamma Mia Sophie's Wedding“Super Trouper” Mamma MiaFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: Mamma MiaABBA Gold Vs. Mamma Mia “Musicals in March!”Mamma Mia! is a jukebox musical that features the songs of ABBA, the Swedish pop group composed of Benny Andersson, Björn Ulvaeus, Agnetha Fältskog, and Anni-Frid Lyngstad. The musical was created by British playwright Catherine Johnson, with music by Andersson and Ulvaeus, and premiered in London's West End in 1999. The show was a massive success, leading to multiple international productions, including a Broadway run from 2001 to 2015.Set on a fictional Greek island, Mamma Mia! follows Sophie Sheridan, a young bride-to-be who secretly invites three men from her mother Donna's past to her wedding, hoping to discover which one is her father. Donna, a former singer with the girl group "Donna and the Dynamos," is unaware of Sophie's plan and is shocked when her past lovers—Sam, Harry, and Bill—arrive. The story unfolds with comedy, romance, and ABBA's iconic hits, including Dancing Queen, Super Trouper, The Winner Takes It All, and Mamma Mia.We are comparing the band catalog to this interpretation. Which version did we prefer? Listen to find out! In this ep, the Margos discuss:The history of the band and their domination of the 1970s The road from the stage version to the filmThe cast includes Meryl Streep (Donna Sheridan,) Pierce Brosnan (Sam Carmichael,) Colin Firth (Harry Bright,) Stellan Skarsgard (Bill Anderson,) Julie Walters (Rosie Mulligan,) Dominic Cooper (Sky Rymand,) Amanda Seyfried (Sophie Sheridan,) Christine Baranski (Tanya Chesham-Leigh,) and Rachel McDowall as Lisa. Clips Featured:“Dancing Queen”ABBA at the 1974 Eruovision ContestABBA “Waterloo” 1975Frida “There's Something Going On”Mamma Mia 2018 movie trailer“Does Your Mother Know” (Mamma Mia)“Mamma Mia”//Mamma MiaMamma Mia Sophie's Wedding“Super Trouper” Mamma MiaFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: Billy Elliot The 2000 Film Vs the 2014 Musical Live“Musicals in March!”The Margos continue “Musicals in March” with the film & stage show of Billy Elliot. Both tell the inspiring story of a working-class boy in 1980s northern England who discovers a passion for ballet during the UK miners' strike, but they differ in tone and presentation.The film, directed by Stephen Daldry and written by Lee Hall (based on his play Dancer), is a gritty drama starring Jamie Bell, featuring a rock and pop soundtrack. It focuses on Billy's journey and his family's struggles, earning critical acclaim and multiple BAFTA and Oscar nominations.In contrast, the musical expands the story with more extensive dance sequences and fantasy elements, highlighting the miners' plight. It includes music by Elton John and offers more character development and stylized theatrical moments. The musical has won numerous Olivier and Tony Awards.Which version did we prefer? Listen to find out! In this ep, the Margos discuss:The history behind the original story The road from the film world to stageThe cast includes: Jamie Bell (Billy Elliot young,) Adam Cooper (Billy Elliot grown,) Julie Walters (Sandra Wilkinson,) Gary Lewis (Jackie Elliot,) Jamie Draven (Tony Elliot,) Jean Heywood (Grandma,) Stuart Wells (Michael Caffrey young,) Merryn Owen (Michael Caffrey grown,) Nicola Blackwell (Debbie Wilkinson,) Colin Mclachlan (Tom Wilkinson,) Mike Elliot (George Watson,) and Billy Fane as Mr. Braithwaite. Clips Featured:“Billy performs for his dad (movie)”Billy Elliot (2000 trailer)"Like electricity (movie)""Billy says goodbye (movie)""Billy as a grownup (movie)"Billy Eliot the Musical (2014) trailer"Solidarity (musical)""Like electricity (musical)" Jamie Bell wins the BAFTA Music by Stephen Warbeck and Elton John. Follow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: Billy Elliot The 2000 Film Vs the 2014 Musical Live“Musicals in March!”The Margos continue “Musicals in March” with the film & stage show of Billy Elliot. Both tell the inspiring story of a working-class boy in 1980s northern England who discovers a passion for ballet during the UK miners' strike, but they differ in tone and presentation.The film, directed by Stephen Daldry and written by Lee Hall (based on his play Dancer), is a gritty drama starring Jamie Bell, featuring a rock and pop soundtrack. It focuses on Billy's journey and his family's struggles, earning critical acclaim and multiple BAFTA and Oscar nominations.In contrast, the musical expands the story with more extensive dance sequences and fantasy elements, highlighting the miners' plight. It includes music by Elton John and offers more character development and stylized theatrical moments. The musical has won numerous Olivier and Tony Awards.Which version did we prefer? Listen to find out! In this ep, the Margos discuss:The history behind the original story The road from the film world to stageThe cast includes: Jamie Bell (Billy Elliot young,) Adam Cooper (Billy Elliot grown,) Julie Walters (Sandra Wilkinson,) Gary Lewis (Jackie Elliot,) Jamie Draven (Tony Elliot,) Jean Heywood (Grandma,) Stuart Wells (Michael Caffrey young,) Merryn Owen (Michael Caffrey grown,) Nicola Blackwell (Debbie Wilkinson,) Colin Mclachlan (Tom Wilkinson,) Mike Elliot (George Watson,) and Billy Fane as Mr. Braithwaite. Clips Featured:“Billy performs for his dad (movie)”Billy Elliot (2000 trailer)"Like electricity (movie)""Billy says goodbye (movie)""Billy as a grownup (movie)"Billy Eliot the Musical (2014) trailer"Solidarity (musical)""Like electricity (musical)" Jamie Bell wins the BAFTA Music by Stephen Warbeck and Elton John. Follow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
It's a third Paddington.What do you want from me? Sit your butt down and just watch it. Come on. This shouldn't be that hard. He's a charming frickin' bear and he's surrounded by the most delightful actors! What?! You think you're too good for Paddington? Cause no one is good enough for him - that sweet bear! We don't deserve his kind... and you wanna get smart with me? Now? When there's an unwatched Paddington in front of you? I'm glad your grandfather died before he could see you like this. It's like that runaway Canada Day float knew what you would become and spared him the shame! Next week: It's Denzel, innit? Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://www.pastemagazine.com/movies/war-movies/the-100-greatest-war-movies-of-all-time Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Paddington in Peru stars Hugh Bonneville, Emily Mortimer, Madeleine Harris, Samuel Joslin, Julie Walters, Olivia Colman, Jim Broadbent, Antonio Banderas, Hayley Atwell, the voice of Imelda Staunton and the voice of Ben Whishaw; directed by Dougal Wilson. Learn more about your ad choices. Visit megaphone.fm/adchoices
Fuck you it's January??? We watched three movies in January so we decided to sandwich January and February!! JANUARY Wolfman- dir. Leigh Whannell; Christopher Abbott, Julia Garner, Matilda Firth, Sam Jaeger Presence- dir. Steven Soderbergh; Lucy Liu, Chris Sullivan, Callina Laing, Eddy Maday, Julia Fox Companion- dir. Drew Hancock; Sophie Thatcher, Jack Quaid, Lukas Gage, Megan Suri, Harvey Guillén, Rupert Friend FEBRUARY Heart Eyes- dir. Josh Ruben; Olivia Holt, Mason Gooding, Jordana Brewster, Devon Sawa, Gigi Zumbado Paddington in Peru- dir. Dougal Wilson; Ben Whishow, Hugh Bonneville, Emily Mortemer, Samuel Joslin, Madeline Harris, Julie Walters, Antonio Bandares, Oliva Colman Captain America Brave New World- dir. Julias Onah; Anthony Mackie, Harrison Ford, Danny Ramirez, Shira Haas, Tim Blake Nelson, Carl Lumbly, Giancarlo Esposito, Liv Tyler The Monkey- dir. Osgood Perkins; Theo James, Tatiana Maslany, Christian Convery, Colin O'Brien, Rohan Campbell, Adam Scott, Elijah Wood MARCH Mickey 17 Opus Plankton: The Movie Novocaine The Day the Earth Blew Up: A Looney Tunes Movie Snow White The Woman in the Yard Death of a Unicorn --------------------------------------------------- iTunes: https://podcasts.apple.com/us/podcast/movies-are-reel/id1082173626 Spotify: https://open.spotify.com/show/2VE15E5fS0ZWtESo9bUWhn?si=e983275eb550499c&nd=1 Jurge - twitter: twitter.com/jcruzalvarez26 Letterboxed: letterboxd.com/jcruzalvarez26/ Ryan- twitter: twitter.com/MrPibbOfficial Letterboxed: letterboxd.com/filmpiece/ Karrie - twitter: twitter.com/kar_elyles Letterboxed: letterboxd.com/karrie/
What makes the Paddington franchise so popular with audiences? That's exactly what Melanie and I set out to discover as we take a deep dive into the first film in the trilogy in this brand new What Went Right episode. We look past the CGI and get straight to the heart of the story. -V. For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor
Desperate for a new series to binge-watch or heading to the cinema for date-night? Gayle Edmunds shares her top picks of things to watch on the big and small screen. This week we’re watching: Paddington in Peru Cast: Ben Whishaw as the voice of Paddington and Hugh Bonneville, Emily Mortimer, Julie Walters, Jim Broadbent, Carla Tous, Olivia Colman and Antonio Banderas. Plot: Follow Paddington and the Brown family as they journey through the jungles of Peru to find his Aunt Lucy. She’s gone missing from the Home of Retired Bears See omnystudio.com/listener for privacy information.
National Margarita day. Entertainment from 1966. Last time Great Britian was invaded, 1st dog race track, US gets Florida from Spain. Todays birthdays - George Washington, Robert Young, Robert Wadlow, Guy Mitchell, Julie Walters, Kyle MacLachlan, Steve Irwin, Drew Barrymore. Andy Worhol died.Intro - God did good - Dianna Cocoran https://www.diannacorcoran.com/ One margarita - Luke BryanLightning strikes - Lou ChristieThere goes my everything - Jack Green Birthdays - In da club - 50 Cent http://50cent.com/Rock A Billy - Guy MItchellExit - First shots on me - Christie Lamb https://www.christielamb.com/countryundergroundradio.comcooolmedia.com
The endearing Paddington bear returns to Peru in this third outing of the film series. Most of the cast are back, along with some newcomers, and of course an adventures ensues. Listen as Matt & Ashley review Paddington in Peru.
"I had to teach myself to advocate – no one should leave a hospital with more trauma than they came with."- Julie Walters We extend our sincere gratitude to our sponsor for this episode, Gebauer PainEase®. We are pleased to provide more information about this product, and we invite you to learn more by visiting their website. In this episode, Katie speaks with Julie Walters, a mom of two neurodivergent children, entrepreneur, and fierce advocate for inclusion and health equity.Julie shares her deeply personal journey navigating her daughter's epilepsy diagnosis, the challenges of parenting through complex medical experiences and how these experiences led her to create The Connected Parent – a resource hub empowering families to find critical services for children with medical complexities or neurodivergence. Julie's story is one of strength, determination and advocacy. Key Takeaways we learn from Julie and Katie's Conversation: ✨ Becoming an Advocate Early: Julie's passion for advocacy began in childhood, growing up with a mother who had schizoaffective disorder. She learned how to find resources through persistence and necessity.
We're journeying from the jungles of Darkest Peru to Jolly Ol' London Town in this adaptation of the beloved children's stories by Michael Bond. The Bond is strong with Q actor Ben Whishaw who voices the precocious titular bear. The cast is stacked with talent, including Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, Peter Capaldi, and Nicole Kidman in key roles, with Michael Gambon and Imelda Stauton lending their voice talents. The director is Paul King (he of The Mighty Boosh), here helming the picture to critical and commercial success, to the tune of two BAFTA nominations and over $300 million at the box office. But are our hosts as enamored with the end result, or did we find it… unbearable? Exit the intro, pursued by a bear: Paddington Bear. Oh, bother. For more geeky podcasts visit GonnaGeek.com You can find us on iTunes under ''Legends Podcast''. Please subscribe and give us a positive review. You can also follow us on Twitter @LegendsPodcast or even better, send us an e-mail: LegendsPodcastS@gmail.com You can write to Rum Daddy directly: rumdaddylegends@gmail.com You can find all our contact information here on the Network page of GonnaGeek.com Our complete archive is always available at www.legendspodcast.com, www.legendspodcast.libsyn.com
Three Paddington films. Sarah Watt, Jeremy Downing and William Chen discuss Paddington (2014), Paddington 2 (2017) and Paddington in Peru (2024) and our general reactions to the films, especially those of us who haven't seen a Paddington film before. We talk about the work of writer and director Paul King, including The Mighty Boosh and Wonka (2023), and praise the work of first-time director Dougal Wilson. We discuss the cast and performances in the films, including the work of Hugh Bonneville, Sally Hawkins, Emily Mortimer, Ben Wishaw, Jessica Hynes, Matt Lucas, Peter Capaldi, Nicole Kidman, Hugh Grant, Olivia Colman, Julie Walters, Michael Gambon, Jim Broadbent, Brendan Gleeson and Noah Taylor. We praise the films' visuals, especially Paddington's animation. This extends into a discussion of live-action, special effects, visual effects and computer generation. We touch on Sonic the Hedgehog 3 (2024), the work of Ray Harryhausen - Jason and the Argonauts (1963) and Clash of the Titans (1981), the original Godzilla (1954), King Kong (1933), Jurassic Park (1993), Lord of the Rings: The Fellowship of the Ring (2001), Star Wars: Episode I - The Phantom Menace (1999), Doctor Who (1963-) and The Thing (1982).
Mamma Mia! (promoted as Mamma Mia! The Movie) is a 2008 jukebox musical romantic comedy film directed by Phyllida Lloyd and written by Catherine Johnson, based on her book from the 1999 musical of the same name. The film is based on the songs of pop group ABBA, with additional music composed by ABBA member Benny Andersson. The film features an ensemble cast, including Christine Baranski, Pierce Brosnan, Dominic Cooper, Colin Firth, Amanda Seyfried, Stellan Skarsgård, Meryl Streep, and Julie Walters. The plot follows a young bride-to-be who invites three men to her upcoming wedding, with the possibility that any of them could be her father. The film was an international co-production between Germany, the United Kingdom and the United States, and was co-produced by Playtone and Littlestar Productions.
Welcome to a brand new season! This time around I'm studying the 4 Story Questions and Melanie is focused on tension. This week we're looking at CALENDAR GIRLS. We love these actresses (I mean, honestly, what's not to love?) but the storyline threw us for a loop because when it felt like it was coming to a natural conclusion, we realized there was still another hour to go. What happened? And was that a good thing or not? Tune in to find out! -V."Making a sale or getting an agent hinges on your ability to describe your story to somebody else." Valerie FrancisRelated Story Nerd Episodes:Late Night (Season 1, Episode 1)Season 6 (empathy and stakes)Season 7 (dimensional characters and worldbuilding)Season 8 (cast design and conflict)Season 12 (exposition and character arcs) BLACK FRIDAY SALE! The Art of the Query online course is 89% off until December 2, 2024. Grab it now! It's just $27.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor
Hey everyone, welcome back to another review and today, we'll be discussing the sequel to one of the most consistent franchises in films right now. Paddington and Paddington 2 are both some of the best family movies of the last decade. The thought of doing a third film is definitely terrifying because of how it could affect this franchise's track record but also because Paul King wasn't coming back for this third entry, although he still has a story credit. He went off to work in the Chocolate Factory. As I'm now studying in the UK, I had the chance to see Paddington in Peru. Does this movie cement the Paddington trilogy as one of the best of all-time or is the absence of Paul King felt? Find out in this review!Paddington in Peru:Directed by: Dougal WilsonScreenplay by: Mark Burton and Jon Foster & James LamontScreen Story by: Paul King and Simon Farnaby and Mark Burton"Paddington Bear" Created by: Michael BondProduced by: Rosie AlisonExecutive Producers: Jeffrey Clifford, Ron Halpern, Paul King, Naoya Kinoshita, Dan Macrae, Anna Marsh, Tim WellspringMusic by: Dario MarianelliCinematography by: Erik WilsonEditing by: Úna Ní DhonghaíleCasting by: Robert SterneProduction Design by: Andy KellyCostume Design by: Charlotte WalterCast: Ben Whishaw, Hugh Bonneville, Emily Mortimer, Antonio Banderas, Olivia Colman, Julie Walters, Samuel Joslin, Madeleine Harris Synopsis: Paddington travels to Peru to visit his beloved Aunt Lucy, who now resides at the Home for Retired Bears. With the Brown Family in tow, a thrilling adventure ensues when a mystery plunges them into an unexpected journey through the Amazon rainforest and up to the mountain peaks of Peru.
Send us a textWelcome back to The Fixate & Binge Podcast, for the sixth episode of a new 10-part series on underappreciated films.Spanning over 55 -years of forgotten Hollywood gems, join Joe for every episode as he discusses in depth his selection of five films that are worth rewatching or even viewing for the first time!Part 6 of this 10-part series the following films are reviewed:THE 13TH WARRIOR (1999) Starring Antonio Banderas, Omar SharifDANCER IN THE DARK (2000) Starring Björk, Catherine Deneuve, David MorseBILLY ELLIOT (2000) Starring Jamie Bell, Julie Walters, Gary LewiSEXY BEAST (2000) Starring Sir Ben Kingsley, Ray Winstone, Ian McShaneFRAILTY (2001) Starring Bill Paxton, Matthew McConaughey, Powers BootheJoe also gives **SPOILER-FREE** reactions to SPEAK NO EVIL -- Apple TV's SLOW HORSES (now in its 4th brilliant season) and the new BAD MONKEY series.The hope of this podcast is to engender a greater appreciation of the magic of moviemaking and how far the film industry has come in the preceding decades.Thank you for listening! You can find and follow us with the links below!Read our Letterboxd reviews at:https://letterboxd.com/fixateandbinge/Follow us on Instagram at:https://www.instagram.com/fixateandbingepodcast/?hl=msFollow us on TikTok at:https://www.tiktok.com/@fixateandbingepodcastVisit our website at:https://fixateandbingepodcast.com/
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Good Morning Pops: Super Trouper – Meryl Streep, Julie Walters, Christine Baransk
The ninth episode of our season on the awesome movie year of 2000 features Jason's personal pick, Stephen Daldry's Billy Elliot. Directed by Stephen Daldry from a screenplay by Lee Hall and starring Jamie Bell, Julie Walters, Gary Lewis, Jamie Draven and Stuart Wells, Billy Elliot was Daldry's first feature film after a successful career in theater.The contemporary reviews quoted in this episode come from Roger Ebert (https://www.rogerebert.com/reviews/billy-elliot-2000/), A.O. Scott in The New York Times (https://www.nytimes.com/2000/10/13/movies/film-review-escaping-a-miner-s-life-for-a-career-in-ballet.html), and Peter Bradshaw in The Guardian (https://www.theguardian.com/film/2000/sep/29/1).Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 2000 installment, featuring one of the Sundance Film Festival Grand Jury Prize winners, Kenneth Lonergan's You Can Count on Me.
Book Vs. Movie: PaddingtonThe 1958 Children's Book Vs. the 2014 MovieThe Margos are feeling very British in this episode! English author Michael Bond created Paddington Bear, who first appeared in Bond's 1958 book A Bear Called Paddington and has since become a beloved character in numerous books, television series, and films. Paddington is a polite and curious bear from Peru who wears a duffle coat and a floppy hat. He often carries a suitcase with a label that reads, "Please look after this bear. Thank you." He was named after the London train station where the Brown family found him. The 2014 "Paddington" movie focuses on Paddington's journey to find a home and the bonds he forms with the Brown family. Which did we (the Margos) prefer of all of the adaptations?In this ep, the Margos discuss:Author Michael Bond and his character of Paddington How the 2014 film adapted the much-beloved work. The cast of the 2014 film includes Ben Winshaw (voice of Paddington,) Hugh Bonneville (Henry Brown,) Sally Hawkins (Mary Brown,) Madeleine Harris (Judy Brown,) Samuel Joslin (Jonathan Brown,) Julie Walters (Mrs. Bird,) Nicole Kidman (Millicent,) Peter Capaldi (Mr. Curry,) Jim Broadbent (Samuel Gruber,) Imelda Staunton (Aunt Lucy,) Michael Gambon (Uncle Pastuzo,) and Tim Downie as Montogomery Clyde. Clips used:“Paddington Meets the Browns”Paddington (2014 trailer)“Subway Silliness”““Mr. Brown Joins Paddington for Tea”“Millicent brings Paddington ‘home”” Buckingham Palace and PaddingtonMusic and Lyrics by Nick UrataBook Vs. Movie is part of the Frolic Podcast Network.Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
Book Vs. Movie: PaddingtonThe 1958 Children's Book Vs. the 2014 MovieThe Margos are feeling very British in this episode! English author Michael Bond created Paddington Bear, who first appeared in Bond's 1958 book A Bear Called Paddington and has since become a beloved character in numerous books, television series, and films. Paddington is a polite and curious bear from Peru who wears a duffle coat and a floppy hat. He often carries a suitcase with a label that reads, "Please look after this bear. Thank you." He was named after the London train station where the Brown family found him. The 2014 "Paddington" movie focuses on Paddington's journey to find a home and the bonds he forms with the Brown family. Which did we (the Margos) prefer of all of the adaptations?In this ep, the Margos discuss:Author Michael Bond and his character of Paddington How the 2014 film adapted the much-beloved work. The cast of the 2014 film includes Ben Winshaw (voice of Paddington,) Hugh Bonneville (Henry Brown,) Sally Hawkins (Mary Brown,) Madeleine Harris (Judy Brown,) Samuel Joslin (Jonathan Brown,) Julie Walters (Mrs. Bird,) Nicole Kidman (Millicent,) Peter Capaldi (Mr. Curry,) Jim Broadbent (Samuel Gruber,) Imelda Staunton (Aunt Lucy,) Michael Gambon (Uncle Pastuzo,) and Tim Downie as Montogomery Clyde. Clips used:“Paddington Meets the Browns”Paddington (2014 trailer)“Subway Silliness”““Mr. Brown Joins Paddington for Tea”“Millicent brings Paddington ‘home”” Buckingham Palace and PaddingtonMusic and Lyrics by Nick UrataBook Vs. Movie is part of the Frolic Podcast Network.Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine
It's back to the 1980s in this episode of the Film Stories podcast, kicking off with one last James Bond 007 adventure for Roger Moore.A View To A Kill - teased at the end of 1983's Octopussy as From A View To A Kill - came together initially with little fuss for a James Bond movie. Roger Moore was quickly invited back. John Glen was asked to direct even before he'd finished the last film. Pinewood Studios was booked. And then the problems: question marks over whether Roger Moore was too old for the role, announcing someone for the villain who turned the part down - and then the 007 stage at Pinewood burning down.1988's Buster by comparison was a fairly smooth shoot. Phil Collins agreed to take his first lead role, Julie Walters was in the USA for the Oscars when she got the script. But the story of one of the Great Train Robbers came with questions, not least should such a movie be with such a light tone about such a serious subject. Still, it got to the Oscars...Stories of both - and their respective royal premieres too - are told in this episode... Hosted on Acast. See acast.com/privacy for more information.
Welcome back to wizarding world of Pop Culture Purgatory!!! This week we continue our Hogwarts Expressway straight into wizardry hell with 2004's Harry Potter and The Prisoner of Azkaban, directed by Alfonso Cuaron and starring David Thewlis, Gary Oldman, Emma Thompson, Timothy Spall, Michael Gambon, Emma Watson, Daniel Radcliffe, Rupert Grint, Richard Griffths, Fiona Shaw, Harry Melling, Robert Hardy, Maggie Smith, Matthew Lewis, Robbie Coltrane, Dawn French, Jame & Oliver Phelps, Julie Walters, Mark Williamsm Chris Rankin, Bonnie Wright, Alan Rickman, David Bradley and Warwick Davis. Thanks for checkin us out and if you'd like find the rest of our back episodes go to podbean.com Outro track "The Knight Bus" Composed and Conducted by John Williams https://youtu.be/xTCuIM3w9E4?si=XTbqdkGORNJKJx9D
Welcome back to the wizarding world of Pop Culture Purgatory!!! This week we continue our Hogwarts Expressway straight into wizardry hell with 2002's Harry Potter and The Chamber of Secrets directed once again by Chris Columbus and starring Daniel Radcliffe, Emma Watson, Rupert Grint, Richard Griffiths, Fiona Shaw, Harry Melling, Toby Jones, James Phelps, Oliver Phelps, Julie Walters, Mark Williams, Bonnie Wright, Tom Felton, Jason Issacs, Robbie Coltrane, Kenneth Branagh, Matthew Lewis, Devon Murphy, David Bradley, Alan Rickman, Maggie Smith, Miriam Margoyles and Richard Harris. This would be the last time Richard Harris would play Albus Dumbledore, he would in his hospital bed shortly after wrapping up the film. Thanks everyone for checkin us out, if you'd like to find our back catalog go to Podbean.com Outro "The Spiders" Conducted and arranged by John Williams https://youtu.be/r21yvykXVJo?si=D6uTeH9rRbvLfzEn
National Margarita day. Entertainment from 2004. Last time Great Britian was invaded, 1st dog race track, US gets Florida from Spain. Todays birthdays - George Washington, Robert Young, Robert Wadlow, Guy Mitchell, Julie Walters, Kyle MacLachlan, Steve Irwin, Drew Barrymore. Andy Worhol died.Intro - Pour some sugar on me - Def Leppard https://en.wikipedia.org/wiki/Def_LeppardOne margarita - Luke BryanSlow Jamz - Twista Kanye West Jamie FoxxAmerican soldier - Toby KeithBirthdays - In da club - 50 Cent http://50cent.com/Rock A Billy - Guy MItchellExit - Its not love - Dokken http://dokken.net/ https://coolcasts.cooolmedia.com/
Visit iconic literary destinations and movie locations in Yorkshire in Northern England. Darley Newman takes you to the Bronte Parsonage, where the Bronte sisters wrote classic books like Wuthering Heights and Jane Eyre. Tour this home in the village of Haworth with Ann Dinsdale, who shares the sisters' unconventional upbringing and groundbreaking achievements. Join Darley to walk amid the dramatic moors, made famous by Wuthering Heights. Next, Darley meets the real-life Calendar Girls in a pub in the Yorkshire Dales. Tricia Stewart and Angela Baker share the heartwarming story behind their iconic calendar used to raise money for leukemia research and later made into a hit movie starring Helen Mirren and Julie Walters. The journey continues with stops for England's best fish and chips at Bizzie Lizzie's in Skipton and an exploration of historic landmarks like Bolton Abbey. Learn more about this part of England and other great destinations by seeking out the companion TV episodes to this podcast, part of the Emmy Award-nominated “Travels with Darley” series on PBS, Amazon Prime, Great Courses and your favorite streaming site or app.
“When a business owner is supported and when they have extra funds available, those funds usually funnel back into their local community.” -Julie Walters Welcome to our 400th EPISODE!! Thank you for your support! Now let's get to the episode... :) Best practice isn't what everyone else is doing, it is learning from everyone else and building practices that work best for you. When we consistently deliver on our processes, we automatically create the space for growth as things begin to run themselves. There is never a right time to make a start or take the next step in your bookkeeping business. If we don't make the change today, 12 months from now we'll find ourselves stuck in the same position, wishing we had acted sooner. Julie Walters, owner of Pathfinder Bookkeeping and Tax, is this episode's featured guest. She has spent her career helping businesses grow and prosper. She speaks powerfully about the safety and security our businesses provide us, while explaining just how far-reaching the impact of what we do can be felt by others. If you are struggling to build effective systems and processes into your business, aren't sure how to communicate your skills or worth to your clients, or just want to modernize your business without leaving your clients behind, this is the episode to set your business in motion. During this interview, you'll learn... The value of Pure Bookkeeping as a tool for your success How to find the courage to take a leap The importance of bringing our clients with us on our journey To find out more about Julie, click here. Connect with her on LinkedIn. To learn more about Pure Bookkeeping, visit this link. Time Stamps 01:27 - Julie discusses her career journey 03:39 - Navigating the highs & lows 06:01 - Taking the leap 10:41 - Bringing our clients with us 12:48 - How Pure Bookkeeping can help you 14:53 - Building your dream team 17:14 - Never a right time 20:00 - Growing with your business 27:06 - Measuring the impact ripple 33:44 - Looking to the future
Lizzie Swindells and Neel Bhatt (Empire Podcast) join Flixwatcher to review Lizzie's choice Paddington 2. Paddington 2 (2017) sees Paddington (voiced by Ben Whishlaw) having settled into London life with the Brown family, framed for theft and sent to prison (on fairly shaky evidence). While Paddington is in prison, impressing the imposing Knuckles (Brendan Gleeson) with marmalade, the Brown family (led by Sally Hawkins, Julie Walters and Hugh Bonnerville) are trying uncover the real thief, Phoenix Buchanan (Hugh Grant having a lovely time). Paddington is pretty much universally adored by everyone, well everyone other than Helen maybe. At the films heart is the belief there is good in everyone and kindness will always prevail. Unsurprisingly Paddington 2 scored extremely highly on recommendability, how could you not? Scores across the other Flixwatcher categories were very high, not high enough to challenge number 1 but a still a very respectable 4.68 overall, earning a place in the top 10. [supsystic-tables id=336] Episode #323 Crew Links Thanks to the Episode #323 Crew of Neel Bhatt (@_Neelsreeldeel) and Lizzie Swindells (@lizzie1708) from Frame to Frame podcast You can find their website here https://twitter.com/empiremagazine And at https://twitter.com/Cinema_Savvy Please make sure you give them some love More about Paddington 2 For more info on Paddington 2 can visit Paddington 2 IMDB page here or Paddington 2 Rotten Tomatoes page here. Final Plug! Subscribe, Share and Review us on iTunes If you enjoyed this episode of Flixwatcher Podcast you probably know other people who will like it too! Please share it with your friends and family, review us, and join us across ALL of the Social Media links below. Learn more about your ad choices. Visit megaphone.fm/adchoices
**Apologies for the slightly blown-out vocals on my end; had an audio issue!** This week on And the Runner-Up Is, Kevin welcomes back AwardsWatch editor-in-chief Erik Anderson to discuss the 1983 Oscar race for Best Actress, where Shirley MacLaine won for her performance in "Terms of Endearment," beating Jane Alexander in "Testament," Meryl Streep in "Silkwood," Julie Walters in "Educating Rita," and Debra Winger in "Terms of Endearment." We discuss all of these nominated performances and determine who we think was the runner-up to MacLaine. 0:00 - 16:08 - Introduction 16:09 - 42:07 - Jane Alexander 42:08 - 1:09:37 - Meryl Streep 1:09:38 - 1:29:13 - Julie Walters 1:29:14 - 1:56:58 - Debra Winger 1:56:59 - 2:20:04 - Shirley MacLaine 2:20:05 - 3:05:04 - Why Shirley MacLaine won / Twitter questions 3:05:05- 3:08:59 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Erik Anderson on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara
Come celebrate the joy of dance with Brandon and Jane! Are there some ups and downs in this Northern English town where The Elliot's live? Sure, but it all disappears when we see Jamie Bell as Billy dancing down the road. Julie Walters and Gary Lewis give amazing performances as the two parental figures for Billy in this film. We cover the striking miners in the early 80's, Billy's cute little gay friend, and the delightful accents us Americans definitely need subtitles for. Press play, y'all! You'll enjoy it.
During the height of his fame with Soft Cell, Marc Almond had a side project. An outlet for the less polished pop side of his persona. Dark, passionate, intense, diverse, and riveting. And that was just the musicians that were part of the collective known as Marc and the Mambas. As we publish this podcast episode in mid-August 2023, it's precisely 40 years since Marc and the Mambas released their 2nd LP 'Torment and Toreros'. We celebrate by looking at the key personnel involved, the recording process they went through, and the songs that were released on this 90 minute long double album. You'll hear about the real life torment that emerged after the release of the record and Marc's extreme reaction to less than favourable reviews. For balance, there's comments from the fans that adore the album and what it still means to them 40 years on, Kate included. From the same week of release, we enjoy a bumper hit of nostalgia. It was a great top 10 UK singles chart to wax lyrical about, featuring 80's gold from Depeche Mode, Wham, Spandau Ballet, Elton John, Paul Young, and The Style Council. The movies on at the box office were equally impressive, including some huge blockbusters and critically acclaimed films starring the likes of Michael Caine, Jennifer Beals, Harrison Ford, Roger Moore, Christopher Reeve, Julie Walters, and Matthew Broderick. The heat makes the headlines during the summer of 1983 in the UK, along with a new registration plate format for vehicles, and Kate gets rather excited about a couple of shows that aired for the first time in the UK on ITV. Our Top 3 picks this week, are our favourite double albums of all time. Spoiler alert, all Kate's are from the same artist. I wonder who that could be!? Singles of the week: Kate goes for the modern classic from Sheffield's Reverend & The Makers - 'A letter To My 21 Year old self': https://youtu.be/8IQJTCrDI5Q Rick sticks with 1983 and the pop gem from Aztec Camera that is 'Oblivious': https://youtu.be/2B2Sc2G_5ZA For those on Facebook, here's a link to a post we published in the private 'Marc Almond' group with some great comments about the record: https://www.facebook.com/groups/4258153798?multi_permalinks=10161469921478799 Two recent podcasts featuring Anni Hogan: https://open.spotify.com/episode/5RJuwSD4NZjuxb7TOZ05fz?si=rBhS5rPxRgu11khgisWd1Q https://open.spotify.com/episode/4kh3V42TjQBp3XlyaWAeVq?si=QWb-fyltSLaAR5aZ4EVKdA Please support our indie podcast by subscribing on your listening platform of choice, sharing with your friends and family, rating us on Spotify, and/or Apple Podcasts, following, liking, or commenting on our social media channels, OR you can make Memorabilia podcast history and be the first non-family member to send us an email - a mention on a future episode is guaranteed (yes, we're still waiting on this one!!!) Email memorabiliapodcast@gmail.com Twitter @Memorabiliapod (https://twitter.com/Memorabiliapod) Facebook @MemorabiliaPodcast (https://www.facebook.com/Memorabilia-Podcast-102585322133793 Thank you for listening and for your interest, Rick & Kate x p.s. the claim made at the start of the episode about us keeping the running time to 60 minutes moving forward, was clearly a blatant lie!
In this episode, my guest is comedian and actor Paul Reiser. We discuss his upcoming shows at Cobb's Comedy Club, his tour called the "Big Font Comedy Tour," and how he's glad to be doing stand-up again. We also talked about Paul's various roles in TV and books, including his recent appearance on Stranger Things as Dr. Sam Owens.In this episode:Stand-up comedy and live performancesThe journey of becoming a comedianFinding your comedic voiceMaking your spouse laughOpening for Buddy RichAs a seasoned actor, writer, producer, and stand-up comedian, Paul Reiser continues to add to his list of accomplishments. In addition to co-creating and starring in the critically-acclaimed NBC series Mad About You (1992), which garnered him Emmy, Golden Globe, American Comedy Award, and Screen Actors Guild nominations for Best Actor in a Comedy Series, his successes also include his book, "Couplehood," which sold over two million copies and reached the number one spot on "The New York Times" best-seller list, and "Babyhood," his follow-up book, which features his trademark humorous take on the adventures of being a first-time father, which also made "The New York Times" best-seller list. He also wrote a follow-up bestseller, Familyhood.Born and raised in New York City, Reiser was drawn to Greenwich Village clubs, which featured, among others, George Carlin, Robert Klein, and David Steinberg. He subsequently attended college at the State University of New York at Binghamton, where he majored in music (piano and composition) and participated in drama classes. During his university years, he was active in student theater productions at the Hinman Little Theater, an on-campus community theater organization located in Hinman College, his dorm community. Reiser later began performing as a comedian at the Improv and Comic Strip during university summer breaks.Remembered for notable performances in films such as Diner (1982), Aliens (1986), Beverly Hills Cop (1984) and Beverly Hills Cop II (1987), The Marrying Man (1991), Bye Bye Love (1995) and One Night at McCool's (2001). More recently, he starred in two original movies for Showtime - Strange Relations (2001) opposite Julie Walters, Chazz Palminteri's Women vs. Men (2002), opposite Joe Mantegna and Christine Lahti. His first original screenplay also became his next film, The Thing About My Folks (2005), also starring Peter Falk, Olympia Dukakis, and Elizabeth Perkins.Reiser's development company, "Nuance Productions," has produced several projects for NBC television, including, My 11:30 (2004), starring Jeff Goldblum and Donna Murphy - which Reiser co-wrote with Steven Sater. Also in the works - for the Showtime cable network - is a mock documentary about "The Smothers Brothers" and their battles with television network censorship in the late 1960s. Since then, he has maintained a lower profile, working more as an executive producer and writer than as an actor.He also paired with Steven Soderbergh to star in the Amazon Original Series Red Oaks.Reiser tours the country performing in sold-out venues and was recently voted one of Comedy Central's "Top 100 Comedians of All Time."www.GaryScottThomas.com
This week, we explore the wonderful world of Mary Poppins and why it took so long for a sequel to appear. We delve into the Disney Theatrical offerings, including the Lion King, and have explored our love for all things Julie Walters.
País Reino Unido Dirección Ol Parker Guion Ol Parker Música Benny Andersson, Anne Dudley, Björn Ulvaeus Fotografía Robert D. Yeoman Reparto Amanda Seyfried, Lily James, Christine Baranski, Julie Walters, Pierce Brosnan, Colin Firth, Stellan Skarsgård, Dominic Cooper, Andy García, Cher Sinopsis "Mamma Mia: Una y otra vez" nos lleva de viaje al verano donde comenzó todo. Desde su vida en el presente, los protagonistas de "Mamma mia!" nos cuentan los hechos acontecidos el mágico verano en el que comenzó esta historia de los tres posibles padres de Sophie.
Welcome back to another magical episode of Not A Bomb. This is the podcast where we go back and reexamine some of the biggest bombs in cinematic history and see if they deserve a second chance. On this week's episode, the guys tackle a film that grossed over $942,000,000, only for the studio to claim it lost them money. That's right, we are talking Harry Potter and the Order of the Phoenix, the fifth film in the Potty franchise and one of the bigger hits of the series. So how did the studio claim they lost money on a movie that almost made a billion dollars? Some creative “Hollywood Accounting”, that's how! Brad and Troy do their best to explain how this accounting practice works and why studios use it. You also get to hear their thoughts on one of the most successful and belovied franchises of all time. Full disclsoure - Brad and Troy are novice Harry Potter fans and one of them hasn't ever really liked the films outside of a single entry. Does this discussion change all of that? Listen and find out!Timestamps: Intro - (2:04), Franchise Talk - (9:47), Box Office Results, Critical Response, Hollywood Accounting, and Movie Guide - (19:18), Behind the Camera - (39:19), In Front of the Camera - (42:19), Production and Development - (49:19), Commerical Break - (55:54), Harry Potter and the Order of the Phoenix Discussion - (57:51), Is it a Bomb? - (98:27), Listener Feedback - (99:33), and Outro - (109:36)Harry Potter and the Order of the Phoenix is directed by David Yates and stars Daniel Radcliffe, Rupert Grint, Emma Watson, Helena Bonham Carter, Robbie Coltrane, Warwick Davis, Ralph Fiennes, Michael Gambon, Brendan Gleeson, Richard Griffiths, Jason Isaacs, Gary Oldman, Alan Rickman, Fiona Smith, Maggie Smith, Imelda Staunton, David Thewlis, Emma Thompson, and Julie Walters.If you want to leave feedback or suggest a movie bomb, please drop us a line at NotABombPod@gmail.com or Contact Us - here. Also, if you like what you hear, leave a review on Apple Podcast.Cast: Brad, Troy
National margarita day. Pop culture from 1972. Last time Britian was invaded, U.S. get Florida, 1st Daytona 500, 1st artificial rabbit at a dog track. Todays birthdays - George Washington, Robert Young, Robert Wadlow, Guy Mitchell, Julie Walters, Kyle MacLachlan, Steve Irwin, Drew Berrymore. Andy Worhol died.
The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro) 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. Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago? For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt. That was the logo of the disc's distributor. Vestron Video. A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it. But before we get there, we, as always, must go back a little further back in time. The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company. But what to call the company? It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point. At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future. Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling. The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet. Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great. Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night. For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron. They were doing pretty good. And in 1984, Vestron ended up changing the home video industry forever. When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video. It would become the second home videotape to sell a million copies, after Star Wars. Suddenly, Vestron was flush with more cash than it knew what to do with. In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made. Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies. Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build. But it costs money to build a movie production and theatrical distribution company. Lots of money. Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day. It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution. Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure. Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000. Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside. And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year. Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2. The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner. The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again. In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco. Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross. Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week. It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for. Dirty Dancing. Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname. Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle. But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it. They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise. To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special. Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget. For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials. Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny. Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role. Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming. Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released. After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th. Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance. But, to be fair, one important element of the film was still not set. The music. Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film. Vestron would spend another half a million dollars licensing the original recording. The writer nailed all ten. But even then, there was still one missing piece of the puzzle. The closing song. While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.” Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version. The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there. While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals. With all the songs added to the movie, audience test scores improved considerably. RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts. When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts. The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds. But then a funny thing happened… Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack. Its second week in theatre would only see the gross drop 6%, and the film would finish in third place. In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales. Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better. When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago. On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong. The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988. Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets. Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then. Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola. The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role. New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.” Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck. But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales. Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves. Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo. The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales. And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting. Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot. One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either. John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6. The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres. Vestron would also release two movies in 1987 through their genre Lightning Pictures label. The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film. The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them. After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run. While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school. People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years. Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was. Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right? We'll find out next episode, when we continue the Vestron Pictures story. Thank you for joining us. We'll talk again next week. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
In part 2 of our look at Victoria Wood's dinnerladies, we take a closer look at Julie Walters and Maxine Peake and see how the series came to an end.
This week, they just want to dance! Brendan and Jason discuss the 2000 coming-of-age dramedy Billy Elliot, which is about a boy who just wanted to break social roles and dance his heart out. In an episode that may have involved some pre-recording partying, the guys talk about the portrayal of Billy's closeted friend, the artistic flourishes added to the montages, Jason wonders if this movie is too straight-forward and much more! Next week: Jason gives Brendan a Christmas present? Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://www.empireonline.com/movies/features/best-british-films/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Billy Elliot stars Jamie Bell, Julie Walters, Gary Lewis, Jamie Draven, Jean Haywood, Stuart Wells and Mike Elliott; directed by Stephen Daldry. Is It Streaming? USA: Direct TV, Starz and available to rent Canada: available to rent UK: available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the guys go back to the Harry Potter well and talk about Harry Potter and the Deathly Hallows: Part 2 and all its wizarding wonder. The guys debate if this can be truly seen as one complete movie or as part of a longer film and compare it to other final entries in franchises that utilize a similar tactic. They also talk about That Kiss and how the romance almost completely different from the book, Ralph Fiennes' villainous performance and much more. Next week: another coming-of-age film! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://www.empireonline.com/movies/features/best-british-films/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Harry Potter and the Deathly Hallows: Part 2 stars Daniel Radcliffe, Emma Watson, Rupert Grint, Warwick Davis, John Hurt, Gary Oldman, Michael Gambon, Tom Felton, Pam Ferris, Emma Thompson, Alan Rickman, Dame Maggie Smith, Robbie Coltrane, Julie Walters, David Thewlis and Ralph Fiennes; directed by David Yates. Is It Streaming? USA: HBO Max, Peacock Premium and available to rent Canada: Crave and available to rent UK: Sky GO, Now TV Cinema and available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices
País Reino Unido Dirección Paul King Guion Michael Bond, Simon Farnaby, Paul King, Jon Croker Música Dario Marianelli Fotografía Erik Wilson Reparto Hugh Grant, Hugh Bonneville, Sally Hawkins, Brendan Gleeson, Jim Broadbent, Peter Capaldi, Julie Walters, Samuel Joslin, Daniel Stisen, Ben Miller, Sanjeev Bhaskar, Louis Partridge Sinopsis El oso Paddington ya está felizmente integrado en casa de la familia Brown. Se ha convertido además en un miembro muy popular de la comunidad de Windsor Gardens. Su tía Lucy cumple 100 años y él tiene el regalo perfecto para ella: un maravilloso libro pop-up de la tienda de antigüedades de Mr. Gruber. Para poder comprar el libro, Paddington decidirá realizar una serie de extraños trabajos. Pero todo se complica cuando el libro es robado.
Maxine Peake is an actor and writer who first came to public attention in 1998 as Twinkle in the Victoria Wood sitcom Dinnerladies. She went on to play Veronica in Paul Abbott's series Shameless and later became known for playing real people, including the Hillsborough campaigner Anne Williams, and Sara Rowbotham, the former health worker who exposed the sexual abuse scandal in Rochdale in 2012. Maxine was born in Bolton and after a rocky start at college – she was asked to leave her performing arts course after just two weeks but stuck it out – she won a scholarship to study at RADA. Three months before she was due to graduate she auditioned for Victoria Wood and won her first television role starring alongside Wood, Julie Walters and Anne Reid. Victoria Wood advised her to take on a diverse range of roles in order to avoid being typecast as what Maxine calls the “fat, funny northerner”. She took the advice to heart and extended her range playing Myra Hindley, Martha Costello QC in the legal drama Silk and Hamlet in a critically acclaimed production at the Royal Exchange theatre in Manchester. Maxine has also written plays including Beryl: A Love Story on Two Wheels about Beryl Burton, a Yorkshire woman who dominated 1960s cycling and held the record for the men's 12-hour time trial for two years. DISC ONE: Mersey Paradise by The Stone Roses DISC TWO: Puff the Magic Dragon by Bonnie "Prince" Billy and Red DISC THREE: Joe Hill by Paul Robeson DISC FOUR: The Four Horsemen by Aphrodite's Child DISC FIVE: Evening of Light by Nico DISC SIX: Promised Land by Joe Smooth DISC SEVEN: A Whistling Woman by The Unthanks DISC EIGHT: I Saw the Light by Todd Rundgren BOOK CHOICE: One Moonlit Night by Caradog Prichard LUXURY ITEM: A solar-powered epilator CASTAWAY'S FAVOURITE: Joe Hill by Paul Robeson Presenter: Lauren Laverne Producer: Paula McGinley
(to the tune of Mamma Mia) "Here We Go Again! The-re-sa's back on the podcast!" She is back to join her rootin' tootin' partner, aka Host Spencer to discuss the classic Jukebox musical movie Mamma Mia, as well as it's prequel/ sequel film Mamma Mia: Here We Go Again; and this one is all over the place in the best way. They both discuss the plots, characters, casting, and of course, all the ABBA you can handle! They also choose their favorite songs from each, and have a LENGTHY discussion as to why Cher is in the second one (seriously, this podcast loves Cher, but why.) This episode could also be called "Spencer and Theresa gush over how amazing Meryl Streep, Julie Walters, Christine Baranski, and Pierce Brosnan are". Grab your best pair of overalls, pour the wine, and put on your dancing shoes, because this movie requires ALL of those and more.
This week we're talking Peru's best soft drink, Fake Boxers and which coutries are the biggest ersholes as we take a look at the first big screen outing for Paddington. --- Join our Patreon today for just a quid ($1.50) a month to get exclusive episodes, votes for subject films and a shout out every single week! https://www.patreon.com/100thingsfilm --- Paddington is a 2014 live-action animated comedy film written and directed by Paul King. It was developed from a story by King and Hamish McColl, which was based on the stories of the character Paddington Bear created by Michael Bond. Produced by David Heyman, Paddington stars Ben Whishaw as the voice of the title character, with Hugh Bonneville, Sally Hawkins, Julie Walters, Jim Broadbent, Peter Capaldi, and Nicole Kidman in live-action roles. The film tells the story of Paddington, an anthropomorphic bear who migrates from the jungles of "Darkest Peru" to the streets of London, where he is adopted by the Brown family. Kidman plays a taxidermist who attempts to add him to her collection. A British and French venture produced by StudioCanal UK, TF1, and Heyday, Paddington's principal photography began in September 2013 and wrapped up in June 2014. Colin Firth was originally set to voice Paddington, but dropped out in post-production and was replaced by Whishaw. Paddington was released in the United Kingdom on 28 November 2014 to critical acclaim for Whishaw's vocal performance, humour, screenplay, visual effects and appeal to children and adults. It grossed $268 million worldwide on a €38.5 (~$55) million budget. It received two nominations at the BAFTAs: Best British Film and Best Adapted Screenplay. A sequel, Paddington 2, was released in 2017, with King and much of the cast returning.
This week, the guys talk about the lovely family film adaptation of Paddington. Having covered the second one already, they focus in on what sets this film apart from other similar adaptations of children's books, they praise Nicole Kidman's wonderful villainous performance, they ponder Mr. Curry and his coded racism, Jason wonders if the film is contemporary and much more. Next week: another family film! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://www.empireonline.com/movies/features/best-british-films/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Paddington stars Sally Hawkins, Hugh Bonneville, Nicole Kidman, Jim Broadbent, Julie Walters, Peter Capaldi and the voices of Ben Whishaw, Imelda Staunton and Michael Gambon; directed by Paul King. Is It Streaming? USA: Netflix and available to rent Canada: Netflix and available to rent UK: Disney+, Netflix, Prime, Sky GO, Now TV Cinema, Virgin TV Go and available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices
This week, the guys tackle a HUGE movie with the third entry in the beloved wizarding franchise - Harry Potter and the Prisoner of Azkaban. After discussing the complicated legacy of J.K. Rowling, the guys then dive into this being the first truly dark film in the series, debate if the movie stands on its own without having watched any previous entries, the central focus on Hermione and her evolving personality and much more. Plus: M. Night Shyamalan almost directed this movie, guys! Next week: a delightful family film! Questions? Comments? Suggestions? You can always shoot us an e-mail at forscreenandcountry@gmail.com Full List: https://www.empireonline.com/movies/features/best-british-films/ Facebook: https://www.facebook.com/forscreenandcountry Twitter: https://www.twitter.com/fsacpod Our logo was designed by the wonderful Mariah Lirette (https://instagram.com/its.mariah.xo) Harry Potter and the Prisoner of Azkaban stars Daniel Radcliffe, Emma Watson, Rupert Grint, Gary Oldman, Michael Gambon, Tom Felton, Pam Ferris, Emma Thompson, Alan Rickman, Timothy Spall, Dame Maggie Smith, Julie Christie, Fiona Shaw, Richard Griffiths, Robbie Coltrane, Julie Walters and David Thewlis; directed by Alfonso Cuaron. Is It Streaming? USA: fubo TV, HBO Max, Peacock, DirecTV and available to rent Canada: Crave and available to rent UK: Sky TV Go, Now TV Cinema, Virgin TV Go and available to rent Learn more about your ad choices. Visit megaphone.fm/adchoices
We're literally shuffling off to Buffalo this week to discuss this under-appreciated feel-good gem featuring the unbelievably charming Liza Minelli wringing out the rag as queen Mavis Turner. And she's accompanied by so many names we love like Andrea Martin, Jane Krakowski, Bill Irwin, Ellen Green and Shelley Winters! To say nothing of a show-stealing performance from Sheila McCarthy (cue a necessary tangent to 1996's "House Arrest" in which she is also featured in an ensemble of greats!), BAFTA BSA nominee Julie Walters, original Broadway cast member Carol Woods, and the incredibly familiar looking Robyn Stevan. Plus: Nora Dunn in a track suit! We swooned, we cried, we'll probably both buy this movie and put it on in the background while we're cooking. Join us for the Best Supporting Aftershow AND get early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov
For Mother's Day, we're rewatching the rom-com musical Mamma Mia! 20-year-old Sophie is getting married and wants her father to give her away…but her mom's diary reveals that she has three possible dads! So she invites them all to the wedding! Without telling her mom or her fiance
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