Podcast appearances and mentions of Klaus Maria Brandauer

"Ich hatte eine Farm in Afrika" - so beginnt der berühmteste Roman der dänischen Schriftstellerin Tanja (oder auch Karen) Blixen. Es ist eine Geschichte voll Leidenschaft, Liebe, Abenteuer und Sehnsucht und spielt zum größten Teil an ihrem Sehnsuchtsort: einer Kaffee-Farm im heutigen Kenia. Viele dürften aber weniger den autobiographischen Roman kennen, dafür aber den Film, der daraus entstand: "Jenseits von Afrika" - mit Meryl Streep, Robert Redford und Klaus Maria Brandauer in den Hauptrollen.Wie viel Dichtung und wie viel Wahrheit in diesem Roman stecken? Das wollte unsere Zeitzeichen-Kollegin Maren Gottschalk wissen, und so hat sie sich auf die Spuren der Schriftstellerin begeben - von Dänemark bis nach Afrika, zu ihrer Farm, von wo aus der Blick bis zu den Ngong Bergen reicht. Maren unternahm die Reise, um selbst eine Roman-Biographie zu schreiben. In dieser Folge der Geschichtsmacher lauschen Martin Herzog und Marko Rösseler Marens Erzählungen von ihren Recherchen über die wahre Tanja Blixen, die unter verschiedenen Namen ein abenteuerliches Leben führte.Und: Diesmal gibt es etwas zu gewinnen - also, schön bis zum Ende hören...Den Roman "Jenseits der Ngong Berge" von Maren Gottschalk findest du ganz schnell über ihre persönliche Webseite - oder über ihren Verlag.Wenn Dir diese Folge gefallen hat, dann empfiehl uns weiter und sag es allen, die selbst von Afrika träumen. Und wenn nicht, dann sag es uns, aber bitte auch nur uns:kontakt@diegeschichtsmacher.de.Und ganz wichtig: Verteile möglichst viele Sternchen und hinterlasse Kommentare wo immer Dir das möglich ist. Alle weiteren Informationen, die Möglichkeit, unsere Arbeit über Steady zu unterstützen und viele weitere Folgen dann auch ohne Werbung zu hören findest Du unterwww.diegeschichtsmacher.de Hosted on Acast. See acast.com/privacy for more information.

Er war als Bösewicht in „James Bond“ dabei, spielte an der Seite von Hollywoodstar Meryl Streep und gehört zum Ensemble des berühmten Wiener Burg-Theaters: am Sonntag war Klaus Maria Brandauer zu Gast bei Antenne Brandenburg.

Michael, Rob, and Karen talk about the Johnny English prequel that also happens to feature Sean Connery's last performance as James Bond. It's Irvin Kershner's alternate reality 007 film, Never Say Never Again, also starring Kim Basinger, Barbara Carrera, Klaus Maria Brandauer, Bernie Casey, and Max von Sydow.

Er gehört zu den wichtigsten und prägendsten Schauspielern deutscher Sprache, er ist seit über 50 Jahren Mitglied des Wiener Burgtheaters. International bekannt wurde Brandauer mit Filmen wie "Jenseits von Afrika" oder "James Bond – Sag niemals nie". Einen Golden Globe sowie eine Oscar- Nominierung erhielt er für seine Rolle neben Robert Redford und Meryl Streep in „Jenseits von Afrika“. Trotz aller internationalen Erfolge blieb er der Bühne stets treu, bis heute. Erstmalig widmet er sich nun auch auf der Bühne mit der Lesung aus Philip Roth brandaktuellem Roman "Der menschliche Makel" einem zeitgenössischen und nicht- europäischen Autor. Am 10. März hier bei uns im Berliner Admiralspalast und jetzt am 03. März war er zu Gast bei Marion Hanel in 100 % Promi.

Charles Skaggs & Xan Sprouse watch Never Say Never Again, the unofficial James Bond film from 1983, directed by Irvin Kershner, featuring Sean Connery's final appearance as James Bond, Kim Basinger as Domino Petachi, and Klaus Maria Brandauer as Maximillian Largo! Find us here:Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

Zum 25. Geburtstag von radio klassik Stephansdom hat Veronika Bonelli ihre Kolleginnen und Kollegen gebeten, ihr zu erzählen, an welche IntreviewpartnerInnen sie sich immer noch erinnern. Was hat sie beeindruckt und bewegt? Jede und jeder aus dem Redaktionsteam könnte mit der Antwort auf diese Frage wohl eine eigene Sendung füllen. Was alle verbindet: die Dankbarkeit darüber, einen Beruf zu haben, der es ermöglicht interessante Menschen mit beeindruckenden Lebens-Geschichten kennenlernen zu können und ihnen zuhören zu dürfen. Nicht immer sind es die sogenannten Promis, die am meisten zu sagen haben. Hören Sie Erinnerungen an Gespräche mit durchaus bodenständigen Prominten wie Klaus Maria Brandauer oder Jonas Kaufman, ermutigende Worte von Visionärinnen wie Jane Goodall oder humorvolles Philosophieren mit einem Bart-Weltmeister.

On this episode, we discuss the awful conclusion to our fantasy football draft (and the insane draft evaluations that come with it), the 2007 Emily Blunt vehicle Windchill, D-Beat hardcore, Teenage Mutant Ninja Turtles: Mutant Mayhem, and a lengthy discussion of Sean's pick: the 1986 Rocky knockoff Streets of Gold starring Klaus Maria Brandauer, Wesley Snipes, and whiny baby Adrian Pasdar. Website: www.queenvenerator.com Instagram: https://www.instagram.com/queenvenerator/ Twitter: https://twitter.com/queenvenerator Facebook: https://www.facebook.com/queenvenerator/ Bluesky: https://bsky.app/profile/queenvenerator.bsky.social

This week the society watches the 1991 Eisner-era adventure film White Fang, directed by Randal Kleiser and starring Ethan Hawke, Klaus Maria Brandauer, and friend of the podcast JED as Mr. Fang himself.  Join us as we head to the frozen Klondike in search of fortune and adventure, but beware: there are vicious gangs of dandy dogfighters who may foil your plans.  Be sure to befriend all the wild animals you can possibly find, as well as grizzled elders, and always be prepared for corpse luges and constantly having to move your hair out of your eyes.  Grab a can of beans and join us for White Fang!Join us on social media @medfieldfilm for the latest updates

Agents Scott and Cam, along with guest operative Henry R. Schlesinger, journalist and author of Honey Trapped: Sex, Betrayal, and Weaponized Love, help Sean Connery track down a top-secret manuscript with the 1990 John Le Carré adaptation The Russia House.   Directed by Fred Schepisi. Starring Sean Connery, Michelle Pfeiffer, Roy Scheider, James Fox, John Mahoney, Michael Kitchen, J.T. Walsh, Ken Russell, David Threlfall and Klaus Maria Brandauer. All of Henry's books, including Honey Trapped and the Spy Sites series, are available on Amazon. Become a SpyHards Patron and gain access to top secret "Agents in the Field" bonus episodes, movie commentaries and more! Purchase the latest exclusive SpyHards merch at Redbubble. Social media: @spyhards View the NOC List and the Disavowed List at Letterboxd.com/spyhards Podcast artwork by Hannah Hughes. Theme music by Doug Astley.

Klaus Maria Brandauer ist einer der Großen seines Fachs: ob als Hamlet, King Lear oder Wallenstein auf der Bühne oder James-Bond-Bösewicht im Kino. Von sich sagt der Schauspieler, er spiele Stücke, keine Rollen. Nun feiert er sein 60. Bühnenjubiläum.Heise, Katrinwww.deutschlandfunkkultur.de, Im GesprächDirekter Link zur Audiodatei

Er zählt zu den bedeutendsten deutschsprachigen Schauspielern: der Österreicher Klaus Maria Brandauer. Für seine Darstellung in "Jenseits von Afrika" erhielt er einen Golden Globe und eine Oscar-Nominierung. Seit 1972 ist er Ensemblemitglied und Regisseur am Wiener Burgtheater. Seinen internationalen Durchbruch feierte er 1981 als "Mephisto" in der gleichnamigen deutsch-ungarischen Romanverfilmung und als Kontrahent von James Bond in "Sag niemals nie". Zu seinem 80. Geburtstag geht Brandauer im Sommer wieder mit Mozarts Briefen auf musikalische Lesereise durch Norddeutschland. Julia Westlake spricht mit Klaus Maria Brandauer über seine beruflichen Anfänge, über das Ringen um künstlerische Freiheit und über die erste unfreiwillige Auseinandersetzung mit Wolfgang Amadeus Mozart, aus der eine tiefe, fundamental prägende Bewunderung wurde.

Er ist Kammerschauspieler, Ensemblemitglied und Regisseur am Wiener Burgtheater, wo er zahlreiche Rollen verkörperte. Brandauer liest beim Benefizkonzert von Franz Hilf, dem Hilfswerk der Franziskaner für Menschen in Not, Texte von Dietrich Bonhoeffer. In der Sendung von Stefan Hauser und Markus Langer spricht er über seinen Zugang zu den Texten des protestantischen Theologen und Widerstandskämpfers. Weiters geht es u.a. um seinen persönlichen Glauben und das Älter werden.

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

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

Klaus Maria Brandauer ist einer der bedeutendsten Schauspieler der Zeit. Aber wann war für ihn eigentlich klar, dass er auf die Bühne gehört? Welche Ziele er sich für die nächsten Jahre vorgenommen hat, wie der Weltstar heute selbst auf seine Karriere zurückblickt, wann welche Menschen ihn im Leben besonders unterstützt und geholfen haben und an welcher Stelle er rückblickend die Zeit gerne angehalten hätte, berichtet der gebürtige Österreicher bei 3nach9.

Judith Rakers und Giovanni di Lorenzo begrüßen am Freitag, den 24. Februar, folgende Gäste: Schauspielerin Jutta Speidel, Schauspieler Klaus Maria Brandauer, Journalistin Franca Lehfeldt, Musikerin Annett Louisan, Journalistin Dorothee Röhrig und Meisterparfumeur Geza Schön.

0:00 - Intro & Summary2:00 - Movie Discussion45:45 - Cast & Crew/Awards51:55 - Pop Culture56:19 - Music1:02:47 - Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Since we are covering Austin Powers later this week, we figured we should release a silly Bond Movie as well. Enjoy this coverage on Never Say Never Again, a remake of Bond's most boring movie Thunderball. Sean Connery returns as Bond to spite the Broccoli's in what was supposed to create a new Bond Spin-off to challenge the Timothy Dalton movies. Oof. How can the director of Empire Strikes Back make a movie this boring! How will Never Say Never Again hold up? Host: Nic Directed by Irvin Kershner Starring: Sean Connery, Kim Basinger, Klaus Maria Brandauer, Max von Sydow, Barbara Carrera, Bernie Casey, Alec McCowen, Rowan Atkinson  

“Never Say Never”, die Anspielung der Ehefrau auf die letzte Bemerkung von Sean Connery, nie wieder James Bond nach Diamantenfieber zu spielen. Nun ist er also zurück, mit 52, charismatisch, augenzwinkernd, selbstironisch und für fünf Millionen plus Prozente vom Einspielergebnis. Der Film ist ein variiertes Feuerball-Remake, das wegen einer komplizierten Rechte-Gemengelage ohne Beteiligung der Bond-Produktionsfirma Eon entstehen konnte. Hollywood-Routinier Irvin Kershner lässt Bond durch die Bahamas und Südfrankreich reisen, zudem ist Klaus Maria Brandauer und Max von Sydow im Gepäck.BOND OF THE WEEKJames Bond zurück in den Kinos: https://www.jamesbond.de/2022/07/18/james-bond-is-back-on-the-big-screen-bald-auch-in-deutschland/Monty Norman starb im Alter von 94 Jahren: https://www.tagesschau.de/kultur/monty-norman-103.htmlGEWINNSPIELGewinnt ein Original signiertes und personalisiertes George Lazenby Autogramm im Bond-Look. Was ihr machen musst? Ganz einfach, schreibt bei Apple Podcast eine Bewertung, kommentiert auf Instagram unter unserem Gewinnspiel-Beitrag und postet ihn zusätzlich bei euch in den Storys (mit Verlinkung) oder schriebt uns eine tolle Mail! Alles weitere erfahrt ihr in unserer Gewinnspiel-Podcast-Folge. Teilnahmeschluss ist der 25.07.2022 um 23:59:59 Uhr!COMING NEXTAm 08.08.2022 erscheint unsere nächste Folge zum Film IM ANGESICHT DES TODES.KONTAKTWeb: www.strenggeheimpodcast.deInstagram: www.instagram.com/strenggeheim.podcast/Mail: 007@strenggeheimpodcast.de

Since we are covering Austin Powers later this week, we figured we should release a silly Bond Movie as well. Enjoy this coverage on Never Say Never Again, a remake of Bond's most boring movie Thunderball. Sean Connery returns as Bond to spite the Broccoli's in what was supposed to create a new Bond Spin-off to challenge the Timothy Dalton movies. Oof. How can the director of Empire Strikes Back make a movie this boring! How will Never Say Never Again hold up? Host: Nic Directed by Irvin Kershner Starring: Sean Connery, Kim Basinger, Klaus Maria Brandauer, Max von Sydow, Barbara Carrera, Bernie Casey, Alec McCowen, Rowan Atkinson  

Der Producer mit Thomas Wagner (RTL) und Toni Tomic (Sky) zum Fußball, mit Johannes Knuth (SZ) und Heiko Oldörp (NDR) zur Leichtathletik WM, mit Sebastian Kayser (BILD) zur Tour de France, mit Gregor Biernath (Sky) zum Golf, mit Björn Jensen (Hamburger Abendblatt) zum Hockey, mit Stefan Heinrich (Motorsport TV), Edgar Mielke (ran), Stefan Ehlen (motorsport.com), Christian Nimmervoll (formel1.de) und Pete Fink (Motorvision TV) zum Motorsport, und mit Paul Häuser (Sky) und Markus Götz (Sky) zum Tennis; nicht zu vergessen der Producer jr. Robin mit den Power Rankings.

Szabó István nagyszabású filmjét néztük meg a héten. A Mephisto 1981-ben jelent meg, Cannes-ban a legjobb forgatókönyv díját s a FIPRESCI-díjat kapta meg, majd '82-ben elnyerte a legjobb idegen nyelvű filmnek járó Oscar-díjat. A Mephisto a harmincas évek Németországában, a fasizmus árnyékában feltörekvő színházi színész történetét mutatja be. A főszerepben Klaus Maria Brandauer látható, mellette felbukkan a filmben Bánsági Ildikó, Cserhalmi György. Beszélünk a filmmel kapcsolatos várakozásainkról, hiszen az első Oscar-díjas magyar filmről van szó. Megnézzük azt is, mennyit változott Szabó István rendezése az 1965-ös Álmodozások kora óta. Milyenek az operatőr Koltai Lajos képei, mit sugall a beállításaival a film? Beszélünk Klaus Maria Brandauer karakteréről, az ambíciózus Hendrik Höfgenről. Mennyire ismerhető meg a valódi Hendrik? Mik a valódi politikai nézetei? Hogyan formálja meg a nárcisztikus figurát az osztrák színész? Hogyan viszonyul a karaktereihez a történelmi távlatokkal dolgozó filmdráma? Linkek A Vakfolt podcast Facebook oldala A Vakfolt podcast a Twitteren A Vakfolt Patreon-oldala Vakfolt címke a Letterboxdon A Vakfolt podcast a YouTube-on A Vakfolt podcast a Spotify-on A Vakfolt podcast a Google podcasts oldalán A Vakfolt az Apple podcasts oldalán A főcímzenéért köszönet az Artur zenekarnak András a Twitteren: @gaines_ Péter a Twitteren: @freevo Emailen is elértek bennünket: feedback@vakfoltpodcast.hu

Szabó István nagyszabású filmjét néztük meg a héten. A Mephisto 1981-ben jelent meg, Cannes-ban a legjobb forgatókönyv díját s a FIPRESCI-díjat kapta meg, majd '82-ben elnyerte a legjobb idegen nyelvű filmnek járó Oscar-díjat. A Mephisto a harmincas évek Németországában, a fasizmus árnyékában feltörekvő színházi színész történetét mutatja be. A főszerepben Klaus Maria Brandauer látható, mellette […] The post 12×17 – Mephisto appeared first on Vakfolt podcast.

Er studierte Schauspiel bei Klaus Maria Brandauer, spielte am Wiener Burgtheater und schlüpfte in "Der Mann mit dem Fagott" in die Rolle des jungen Udo Jürgens. Für den ARD-Donnerstags-Krimi "Blind ermittelt" durfte er nun wieder einmal in seiner Lieblingsstadt Wien drehen. Wir sprechen über den Charme der Wiener Kaffeehäuser, Familienleben auf dem Land und die Liebe zum Laufen.

Köhler, Michaelwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Well look who's back after all these years… it's only Sean bloody Connery. In the concluding part of the battle of the Bonds sees the original 007 return in a non-cannon remake of Thunderball, Never Say Never Again. Join Becca Chris and Dave as they expect the worst and come away mildly surprised. Starring Sean Connery slipping into the tux one last time with Kim Basinger, Klaus Maria Brandauer, Barbara Carrera, Rowan Atkinson and Max von Sydow who Chris has fun pronouncing. Also making a return is Blofeld and SPECTRE as Kevin McClory comes back. You can follow us on Becca, Chris and Dave on Twitter Please send us an email at expectustotalk@gmail.com to give us any feedback or add your own thoughts on Bond. You can find us on iTunes and Stitcher and if you like us leave us a lovely review as it helps us grow. If that wasn't enough, you can even you can follow us on Twitter and like us on Facebook. Do You Expect Us To Talk Will Return in A View to a Kill

Auf dem Roten Sofa erzählt Brandauer von seiner bewegten Karriere und seinen musikalisch-literarischen Lesungen.

Jack has traveled all the way to the Yukon territory to finish what his father started before he died... to strike it rich. Along the way he befriends Alex and Skunker, who help him trek through the treacherous terrain to his father's claim. The friend that changes his life the most is White Fang, a wolfdog he rescues from a dogfighting pit. Ethan Hawke, Klaus Maria Brandauer, and James Remar star in White Fang. Trailer:

Two James Bonds, two film studios, two guys sitting in a small spare room talking about two James Bonds from two film studios for roughly 90 minutes. This week we 1983's Never Say Never Again and Octopussy, one has a fun name and the other doesn't. Never Say Never Again(1983) Directed by Irvin Kershner. Starring Sean Connery, Kim Basinger, Barbara Carrera, and Klaus Maria Brandauer. Trailer: https://www.imdb.com/video/vi1906574617?playlistId=tt0086006&ref_=tt_ov_vi Octopussy(1983) Directed by John Glen. Starring Roger Moore, Maud Adams, Louis Jourdan, and Kristina Wayborn. Trailer: https://www.imdb.com/video/vi3925917209?playlistId=tt0086034&ref_=tt_ov_vi Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

País Reino Unido Dirección Irvin Kershner Guion Lorenzo Semple Jr., Jack Whittingham, Ian La Frenais, Dick Clement, Kevin McClory. Personaje: Ian Fleming Música Michel Legrand Fotografía Douglas Slocombe Reparto Sean Connery, Klaus Maria Brandauer, Kim Basinger, Max von Sydow, Edward Fox, Barbara Carrera, Alec McCowen, Rowan Atkinson, Bernie Casey, Gavan O'Herlihy, Pamela Salem, Valerie Leon, Anthony Sharp, ver 16 más Sinopsis La temible organización criminal Spectra ha ideado un ingenioso plan que le permite conseguir dos proyectiles nucleares, los cuales harán estallar si el gobierno no cede a su chantaje. El agente 007 se encargará del caso.... Tras varias entregas protagonizado por Roger Moore, Sean Connery vuelve al papel de James Bond -y a combatir a la organización Spectra y sus planes nucleares- en una nueva versión de 'Operación Trueno'.

Cerise and Vicky crack open some New York Times Number One Best Seller airport novels and talk about how the movies based on them are...completely fine. Full of amazing performances and often mediocre pacing. But we didn't talk about any YA? 9:30 - Tom Clancy's Without Remorse (2021, Stefano Sollima)Cerise and Vicky are pleasantly surprised that this movie is only half as fashy as Tom Clancy's name is wont to imply, and give a big welcome to the show to Michael B Jordan. 31:25 - The Caine Mutiny (1954, Edward Dmytryk) Vicky reads the entire film as a narrative about gay desire and closets, Cerise defends the righteousness of mutineers, and both of them think this movie should've trimmed its runtime. 50:00 - Valley of the Dolls (1967, Mark Robson) Cerise adores Patty Duke's scenery chewing, Vicky is too distressed by the misogyny to even enjoy it, but both start to think about checking out the book 1:09:30 - The Dead Zone (1983, David Cronenberg) Cerise and Vicky freak out with joy at the first good movie they got to watch in two weeks. Do you guys remember good movies? They almost forgot. 1:26:50 - The Russia House (1990, Fred Schepisi) Is this John Le Carre adaptation unfairly forgotten? Yes! Is it a must watch? Oh, no, no. It's pretty OK though! (Stars this week include: Michael B. Jordan, Guy Pearce, Lauren London, Jodie Turner-Smith, Jacob Scipio, Humphrey Bogart, May Wynn, Fred MacMurray, Jose Ferrer, Van Johnson, Sharon Tate, Barbara Parkins, Patty Duke, Susan Hayward, John Mahoney, Christopher Walken, Martin Sheen, Brooke Adams, Sean Connery, Michelle Pfeifer, Roy Scheider, Klaus Maria Brandauer)

In der "Charité" glänzte er gerade als Pathologie-Professor Prokop. In "Blind ermittelt", ebenfalls im Ersten, brilliert er derzeit als Kommissar Heller, der Fahnder ohne Augenlicht.

Bjarne Mädel über seine Zusammenarbeit mit Klaus Maria Brandauer in FEINDE. Außerdem ein klitzekleines Gedicht von ihm und wie sie beim Ferienjob auf der Werft aufgezogen haben ...

Sean Connery’s big Bond comeback and the bastard son of the James Bond franchise. Directed byIrvin Kershner. Starring Sean Connery, Kim Basinger, Barbara Carrera, Klaus Maria Brandauer, Max von Sydow, Bernie Casey and Rowan Atkinson. How is the world wrong about this film? From Bryan: In 1983 Bond fans were given the gift of two films!Released a few months after the “official” Bond film Octopussy, Never Say Never Again brought back OG Bond Connery. A remake of Thunderball and not made in the same style or standards of the MGM Bond films, this film has gotten a bad rap and buried over the years. If you haven’t seen it, make a dry martini and check out this overlooked, fun film. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.

Stefan Schlögl verbringt einen Tag mit Klaus Maria Brandauer in Altaussee. Mit seinen Autos, in seinen Autos. Eine großartige Inszenierung aus der autorevue 2/2005.

Er ist zweifellos ein ganz großer seiner Zunft: Klaus Maria Brandauer steht seit fast 60 Jahren auf der Bühne. Derzeit ist der 77-Jährige mit einer Richard-Wagner-Lesung auf Tour.

We can make this work... probably? *Movie commentary track starts around 5:42, followed by discussion (and post-credit bloopers) at 2:19:45. (Movie runtime: 2 hours, 14 minutes)* In this "special" bonus episode of Podcasters Assemble, Erik, Kory, Chris, Justin, and Meghan *attempt to* record a virtual commentary track for Sean Connery's final (unofficial) Bond film, 1983's "Never Say Never Again", directed by Irvin Kershner (The Empire Strikes Back), based on Ian Fleming's 8th Bond novel, "Thunderball" (1961). Will the podcasters make it through the movie? Why did the producers decide to remake "Thunderball" with the same actor 20 years later? What does heroin, scuba diving with killer sharks, and high-stakes video game tournaments have to do with SPECTRE's plans? Watch along with us to find out! Starring Sean Connery returning as James Bond / 007, Kim Basinger as Domino, Klaus Maria Brandauer as Largo, Barbara Carrera as Fatima Blush, Bernie Casey as Felix Leiter, Edward Fox as M, Alec McCowen as Q, Rowan Atkinson as Nigel Small-Fawcett(?!), and Max von Sydow as Blofeld! Note: This commentary was recorded using the version of the film with the Orion logos, some versions of the movie open with the MGM logo for some weird and convoluted reason. Unfortunately, due to some issues with streaming lag, there are parts of the commentary that don’t directly line up with the movie, but we’ve done our best to edit around these, so don’t panic if it un-syncs slightly here and there. We’ve included bits of audio from the movie throughout so that listeners can follow along without the movie as well. Featured in This Episode: Erik Slader from the Epik Fails of History podcast Justin and Meghan Ache from Significant Otter Co Kory Torjussen, @ktorjussenphotography on Instagram Chris Carroll - ComicZombie.net Network Info This podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste! Twitter | Facebook| Instagram: @ProbablyWork www.probablywork.com Email: ProbablyWorkPod@gmail.com

Hanno Koffler ist einer der renommiertesten und spannendsten Schauspieler hierzulande. Er begeisterte in Filmen wie »Sommersturm«, »Krabat« oder »Freier Fall«. Und auch seine »Tschick«-Lesung ist legendär. Im Gespräch mit Dirk Kauffels erzählt er, warum er nach »Tschick« eigentlich nie wieder ein Hörbuch sprechen wollte, schwärmt von der langjährigen Zusammenarbeit mit dem Regisseur Marco Kreuzpaintner und verrät, nach welchen Kriterien er neue Projekte auswählt.

On this episode, we discuss the fifty-eighth Best Picture Winner: “OUT OF AFRICA.”"Out of Africa" is based loosely on the autobiographical book "Out of Africa" written by Isak Dinesen (the pseudonym of Danish author Karen Blixen), which was published in 1937, with additional material from Dinesen's book "Shadows on the Grass" and other sources. The story covers the following:  Initially set on being a dairy farmer, the aristocratic Karen Blixen travels to Africa to join her husband, Bror, who instead spends their money on a coffee plantation. After discovering Bror is unfaithful, Karen develops feelings for hunter Denys, but realizes he prefers a simplistic lifestyle compared to her upper class background. The two continue on until a series of events force Karen to choose between her love and personal growth. Directed by Sydney Pollack, the film stars Meryl Streep as Karen, Robert Redford as Denys, and Klaus Maria Brandauer as Bror.Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. You can reach anyone here at TheEnvelopePodcast.com – Just go there to email us, check our bios, and keep up with the latest episode.

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and special guest Deborah Frances-White Episode 63: Out of Africa (1985) Released 17 June 2020 For this episode, we watched Out of Africa, written by Kurt Luedtke (won) based on the books Out of Africa, Isak Dinesen: The Life of a Story Teller and Silence Will Speak. It was directed by Sydney Pollack (won) with music by John Barry (won) and it stars Robert Redford, Meryl Streep (nominated) and Klaus Maria Brandauer (nominated). It also won for its Cinematography, Art Direction and Sound. Here’s to the Losers https://www.youtube.com/watch?v=Pp2nAxYiUb4 Margaret Avery’s ad https://www.altfg.com/film/margaret-avery-the-color-purple/ Clarence Page on The Color Purple https://www.chicagotribune.com/news/ct-xpm-1986-03-30-8601230650-story.html Next time we will be discussing The Life of Emile Zola. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. James Murray, Andreas Marquart Frellesen, Jonquil Coy, Ann Blake, Lee Ingleby, Michael Walker, Ms Rebecca K O'Dwyer, Anna Joerschke, Anne Dellamaria, Annmarie Gray, Ben Squires, Claire Creighton, Dave Kloc, Eloise Lowe, Helle Rasmussen, Joy Wilkinson, Kate Butler, Katy Espie, Kirsten Marie Oeveraas, Lisa Gillespie, Michael Wilson, Nick Hetherington, Olivia, Peter , Robert Orzalli, Sally Grant, Sam Elliott, Anna Jackson, Anna Smith, Catherine Murphy, Darren Williams, David Hanneford, Eamonn Clarke, Emma Colvill, Emmet Jackson, Judi Cox, Kath , Lucinda Baron von Parker, Martin Korshoj Petersen, Sian Thomas, Stuart Shepherd.

In this fourteenth installment of Spiraken Review Podcast's "Bond Marathon/Bond-o-Thon", Xan & Gretta review one of the two unofficial Bond movie not produced by Albert Broccoli but starring Sean Connory and based off of Thunderball. Is a better film than the original? Sit back and find out as they review "Never Say Never again" directed by Irvin Kershner and starring Edward Fox, Alec McCowen, Bernie Casey, Kim Basinger, Max von Sydow, Klaus Maria Brandauer and returning as James Bond, Sean Connory. ----more---- As our intrepid hosts discuss this film, Xan can't help but compare it to the original film, Gretta goes over the elements that make her laugh and there is much discussion over the controversey behind why this was not an official Eon Picture. Remember to follow us @spiraken on Twitter, @spiraken on Instagram, and Check out our Youtube Page. Also if you would kindly, please go to www.tinyurl.com/helpxan and give us a great rating on Apple Podcasts. Thank you and hope you enjoy this episode. #spiraken #moviereview #dodecahydronofmovies #spymovie  #jamesbond007 #seanconnory #spymovie #neversaymeveragain #kimbassinger #maximillianlargo #007 #movie #spirakenreviewpodcast Music Used in This Episode: Closing Theme- Never Say Never Again by Lani Hall  (Never Say Never Again OST) Our Instagram https://www.instagram.com/spiraken/Our Email Spiraken@gmail.comXan's Email xan@spiraken.comOur Twitter SpirakenYoutube Channel https://www.youtube.com/user/spirakenOur Amazon Store http://www.amazon.com/shops/spiraken Random Question of the Week: Was this film better or worse than Thunderball?

Sean Connery's last outing as James Bond, Never Say Never Again. Connery joined forces with producer Kevin McClory to make an 'unofficial' James Bond film which is a rehash of Thunderball. The Flick Lab goes through all the subjectively best and worst Bond films from each actor who played Bond until the release of No Time to Die (2020). The Lab unanimously voted Never Say Never Again as the worst Bond film from Sean Connery. Do you agree with the verdict? / Directed by Irvin Kershner. Starring Sean Connery, Kim Basinger, Klaus Maria Brandauer, Barbara Carrera.

Als Hendrik Höfgen in der Klaus-Mann-Verfilmung "Mephisto" wurde er international berühmt. Er war der Gegenspieler von James Bond in "Sag niemals nie". Und für seine Rolle als Baron von Blixen-Finecke in "Jenseits von Afrika" wurde er für den Oscar nominiert. Klaus Maria Brandauers einzigartige Schauspielkunst entfaltet sich besonders in ambivalenten Figuren oder gar wahren Scheusalen. Er hat unzählige Hauptrollen an großen deutschsprachigen Theatern gespielt und mit den renommiertesten Regisseuren gearbeitet. Mit Giovanni di Lorenzo spricht der Schauspieler im Deutschen Schauspielhaus bei der Langen Nacht der ZEIT über seine Karriere und sein Leben zwischen Altaussee, Wien, Berlin und New York. Zu den Fridays for Future Demonstrationen sagt Brandauer: "Die Jugendlichen müssen unterstützt werden, das muss verbreitet werden." Er mahnt, die Grundlagen unseres Zusammenlebens nicht als selbstverständlich zu erachten. "Unsere Heimat, für die wir unendlich dankbar sein müssen, ist die Demokratie." Und er erklärt im Podcast ZEIT Bühne seine Liebe zu Europa: "Ich liebe die europäische Idee, seit ich denken kann, seit ich sie einfach verstehe. Ich finde diese Leute fantastisch, denen wir das zu verdanken haben und die, die jetzt noch dafür kämpfen." Letztlich wollte Klaus Maria Brandauer aber nicht Politiker werden: "Ein paar Mal hatte ich die Chance zu überlegen, ob ich in die Politik gehe. Aber ich könnte in solchen Gremien kaum überleben."

In seiner Karriere ist Klaus Maria Brandauer die Figur des "Don Juan" oft begegnet. Die Rolle des charmanten Verführers fasziniert den Schauspieler und Regisseur sehr. Doch er sieht auch große Gefahren in der ungezügelten Leidenschaft, wie er im Interview erzählt.

Für Klaus Maria Brandauer ist die Schauspielerin Birgit Minichmayr die "bedeutendste ihrer Generation". Warum sie nur selten in komischen Rollen zu sehen ist und wie sie sich nach der Geburt ihrer Zwillinge verändert hat, erzählt sie Gabi Fischer.

Best Pick with John Dorney, Jessica Regan, Tom Salinsky and special guest Deborah Frances-White Episode 63: Out of Africa (1985) Released 17 June 2020 For this episode, we watched Out of Africa, written by Kurt Luedtke (won) based on the books Out of Africa, Isak Dinesen: The Life of a Story Teller and Silence Will Speak. It was directed by Sydney Pollack (won) with music by John Barry (won) and it stars Robert Redford, Meryl Streep (nominated) and Klaus Maria Brandauer (nominated). It also won for its Cinematography, Art Direction and Sound. Here's to the Losers https://www.youtube.com/watch?v=Pp2nAxYiUb4 Margaret Avery's ad https://www.altfg.com/film/margaret-avery-the-color-purple/ Clarence Page on The Color Purple https://www.chicagotribune.com/news/ct-xpm-1986-03-30-8601230650-story.html Next time we will be discussing The Life of Emile Zola. If you want to watch it before listening to the next episode you can buy the DVD or Blu-Ray on Amazon.co.uk, or Amazon.com, or you can download it via iTunes (USA). To send in your questions, comments, thoughts and ideas, you can join our Facebook group, Tweet us on @bestpickpod or email us on bestpickpod@gmail.com. You can also Tweet us individually, @MrJohnDorney, @ItsJessRegan or @TomSalinsky. You should also visit our website at https://bestpickpod.com and sign up to our mailing list to get notified as soon as a new episode is released. Just follow this link: http://eepurl.com/dbHO3n. If you enjoy this podcast and you'd like to help us to continue to make it, you can now support us on Patreon for as little as £2.50 per month. Thanks go to all of the following lovely people who have already done that. James Murray, Andreas Marquart Frellesen, Jonquil Coy, Ann Blake, Lee Ingleby, Michael Walker, Ms Rebecca K O'Dwyer, Anna Joerschke, Anne Dellamaria, Annmarie Gray, Ben Squires, Claire Creighton, Dave Kloc, Eloise Lowe, Helle Rasmussen, Joy Wilkinson, Kate Butler, Katy Espie, Kirsten Marie Oeveraas, Lisa Gillespie, Michael Wilson, Nick Hetherington, Olivia, Peter , Robert Orzalli, Sally Grant, Sam Elliott, Anna Jackson, Anna Smith, Catherine Murphy, Darren Williams, David Hanneford, Eamonn Clarke, Emma Colvill, Emmet Jackson, Judi Cox, Kath , Lucinda Baron von Parker, Martin Korshoj Petersen, Sian Thomas, Stuart Shepherd.

Para celebrar nuestro episodio 007 vimos la más rara de las películas de James Bond, Never Say Never Again (1983), dirigida por Irving Kershner y protagonizada por el Bond original, Sean Connery. Debatimos la película, sus temas, su generosa cuota de humor, las chicas Bond de turno, y Largo, el villano más villano que en realidad es el Bond del Upside Down. Como siempre le dedicamos secciones especiales a la banda de sonido, remakes de verdad y de fantasía, y los videojuegos en base a la película (feat. PainStation del museo de videojuegos de Berlín). La cortina musical que abre y cierra el episodio es el tema de James Bond (John Barry) en versión cumbia, como siempre compuesta especialmente para el programa. En este episodio hablamos de Never Say Never Again (1983) - IMDB, Letterboxd, Wikipedia Thunderball (1965) - IMDB, Letterboxd, Wikipedia Links La canción que abre la película, Never Say Never Again (Lani Hall) La canción que abre la película original, Thunderball (Tom Jones) To be in love, canción de la banda de sonido de Robotech, interpretada por Reba West James Bond 007, el fichín de 1983 Centipede Gravitar PainStation Contacto Web: www.kinomanija.si Mail: info@kinomanija.si Facebook: Kinomanija Podcast Twitter: @kinomanijapod Todas las películas que tratamos en el programa las encontrás en esta lista de Letterboxd.

Episode 17 : Burning Secret with Leon Vitali, Gerald Fried and Nathan Abrams. In this episode, we talk about a recently discovered screenplay on July 15th this year that made the headlines.  This wasn't just any screenplay. It was a script penned by Stanley Kubrick and Paths of Glory co-writer Calder Willingham, over 62 years ago and it had only been discovered when one of Stanley's earliest collaborators, the composer Gerald Fried, brought it to the attention of Kubrick fans the world over. The script is called Burning Secret and it's an adaptation of a 1913 novella by Austrian writer Stefan Zweig, and it tells the story of a young boy who is seduced by a man in order to get to the boys' mother. Thus far there have been three filmed versions of the original novella, the most recent being in 1988. The production was written and directed by Andrew Birkin, and it stars Klaus Maria Brandauer, David Eberts, and the legendary Faye Dunaway. But this particular treatment of the screenplay, by Kubrick and Willingham, was discovered by our friend, Nathan Abrams, a professor in Film Studies at Bangor University, while he was just doing research for his new book about Stanley Kubrick. Earlier in 2018, we had the pleasure of speaking with Stanley Kubrick’s long-time right-hand-man and good friend, Leon Vitali, incidentally, just a few days after this amazing news broke, so obviously we had to ask him for his take on what he knows about the screenplay. Production Credits : Hosted by Jason Furlong / Written by Stephen Rigg and Jason Furlong / Theme and original music written and performed by Jason Furlong / Produced and edited by Stephen Rigg

Zachary Scot Johnson (www.zacharyscotjohnson.com) and Maryl McNally (www.neverlandtheatrecompany.com) talk the 7-Oscar-winning 1985 epic "Out of Africa". Starring Meryl Streep and Robert Redcord, and directed by Sydney Pollack, this film won 7 Academy Awards, including Best Picture and Best Director.

Am 9. Mai trat Klaus Maria Brandauer als Sprecher in Felix Mendelssohns "Ein Sommernachtstraum" in der Philharmonie im Münchner Gasteig auf. Was er an der Musik bewundert und warum Schauspieler manchmal Angst vor ihr haben, das verrät er im Gespräch mit BR-KLASSIK.

On this week's episode, the gang gets all dolled up in their best tuxedos and terrible hair pieces to chat about the 1983 (unofficial) Bond film, Never Say Never Again! Could they not pony up the extra dough for the traditional shoot at the camera opening? Why bother trying to make Bond clean and sober? And did Blofeld really invent YouTube? PLUS: James Bond just loves cold Burger King. Never Say Never Again stars Sean Connery, Klaus Maria Brandauer, Max von Sydow, Barbara Carrera, Rowan Atkinson, Bernie Casey, and Kim Basinger; directed by Irvin Kershner.

Título original Out of Africa Año 1985 Duración 160 min. País Estados Unidos Estados Unidos Director Sydney Pollack Guión Kurt Luedtke (Novela: Isak Dinesen) Música John Barry Fotografía David Watkin Reparto Robert Redford, Meryl Streep, Klaus Maria Brandauer, Michael Kitchen, Malick Bowens, Michael Gough, Suzanna Hamilton, Rachel Kempson, Joseph Thiaka, Stephen Kinyanjui Productora Mirage Entertainment / Universal Pictures Género Romance. Aventuras. Drama | Basado en hechos reales. Drama romántico. África. Colonialismo. Años 1910-1919 Sinopsis Libremente inspirada en la obra homónima de la escritora danesa Isak Dinesen. A principios del siglo XX, Karen (Streep) contrae un matrimonio de conveniencia con el barón Blixen (Brandauer), un mujeriego empedernido. Ambos se establecen en Kenia con el propósito de explotar una plantación de café. En Karen Blixen nace un apasionado amor por la tierra y por las gentes de Kenia. Pero también se enamora pérdidamente de Denys Finch-Hatton (Redford), un personaje aventurero y romántico a la antigua usanza, que ama la libertad por encima de todas las cosas.

Bericht von der Eröffnung der Diagonale 2010 mit der Vergabe der Schauspielerpreise an Franziska Weisz, Andreas Lust und Klaus Maria Brandauer.

Bericht von der Eröffnung der Diagonale 2010 mit der Vergabe der Schauspielerpreise an Franziska Weisz, Andreas Lust und Klaus Maria Brandauer.