Podcasts about landmark theatres

This week The Reel Debaters Podcast goes live from Old Market Square during Winnipeg Fringe Fest 2024 and the cast asks the public if they think movies are better than the theatre.Starring MIcheal PetrowJimmy Skinner Charles Fernandes Think you could do better?Leave your idea on our voicemail or comment on our Quora page below to get featured.RD voicemail Ask a Question Events: Simpsons Trivia Night With The Reel Debaters PodcastGrab a beer and get ready to dive into the world of Springfield at The Reel Debaters Podcast's Simpsons-Themed Trivia Night! Join us on August 16th at the vibrant Little Brown Jug Brewery for an evening filled with nostalgic fun and friendly competition.What to Expect:Trivia Fun: Multiple rounds of Simpsons-themed trivia questions, ranging from classic episodes to obscure references.Prizes: Gift Certificate to Landmark Theatres to the winning teamCraft Beer: Enjoy delicious craft beers from Little Brown Jug Brewery while showcasing your Simpsons expertise.Community Atmosphere: Connect with fellow fans, share laughs, and celebrate your favorite moments from the show.Don't miss out on this evening of entertainment from The Reel Debaters Podcast, known for its lively discussions and love of pop culture. Please reserve your spot now and join us for a memorable night of Simpsons nostalgia!Important Notes:Team Registration: Form teams of up to 4 members (individuals welcome too!).Seating: Limited seating is available, arrive early to secure your spot.TwitterFacebookInstagramYoutubeDonate to the causeAbout UsEach week a cast of film-obsessed nerds with selected colleagues and friends sit down and use one of our many patented formats to compare, contrast, and insult each other for your cinematic amusements with situational debates created from their favorite films and shows Example: Could James Bond be a Chef? Should The Ghostbusters have their own restaurant?What would Indiana Jones and Lara Croft's wedding look like?Maybe you wanna find out if Conan The Barbarian could teach Sex Ed?You get the picture.At The Reel Debaters, we have all your film needs covered, arguing the best releases big and small, and reassessing great films in between debates you can also listen to The Reel Talk Sessions where we trade stories, behind-the-scenes knowledge, and thoughts on the world of motion pictures and television and bonus content with Special Features, which are interviews from behind the scenes in the film industry.Welcome to Where The "Art" Of Cinema Meets The Power Of Debate.New episode every...

Fresh from starring in Ain't Too Proud, Cameron Bernard Jones is soon to be playing Collins in the new UK revival of Rent for Landmark Theatres. Cameron is originally from New York and has performed internationally in Porgy & Bess, Hairspray and Showboat. In the West End, he has been in Motown The Musical and Tina: The Tina Turner Musical in which he covered Ike Turner. Cameron was in South Pacific at the Chichester Festival Theatre, Punchdrunk's acclaimed porudction of The Burnt City and received a Black British Theatre Award nomination for his performance as the title role in The Wiz at the Hope Mill Theatre in Manchester. Cameron starred as Melvin Franklin in the original West End cast of Ain't Too Proud: The Life and Times of The Temptations at the Prince Edward Theatre. Cameron is also a podcaster; he hosts and produces Lick The Plate, a podcast about people and food. In this episode, Cameron discusses his original journey into theatre, reestablishing himself in the UK and the highs and lows of his first contract as a West End leading man. He also reflects on navigating a career in theatre as a bass baritone and lots more. Follow Cameron on Instagram: @cbjartsFollow and subscribe to Lick The Plate wherever you get your podcasts. You can see Cameron in Rent at the Peterborough New Theatre and Queen's Theatre Barnstaple in June and July. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  46s Film Making 46s: Filmmakers talk origins, challenges, budgets, and profits.Listen on: Apple Podcasts Spotify

local news, local sports, local weather, and local events you can handle.   SPONSORS: Many thanks to our sponsors... Annapolis Subaru, the SPCA of Anne Arundel County,  Solar Energy Services, Alpha Engineering, and the Hospice of the Chesapeake. Today... Another mid-day armed robbery at a bank. Stabbing in Crofton Wendy's. Governor Moore's Department of Service & Civic Innovation is open for business and accepting applications. Landmark Theatres at the Harbour Center will be showing Pee Wee's Big Adventure tonight for a single showing. We have an encouraging educational poll and a discouraging medical one. The 55th Annual Maryland Seafood Fest is this weekend, and we have a discount code for you. And, of course, some podcast news as well! DAILY NEWS RECAP LINK: https://forms.aweber.com/form/87/493412887.htm Back with her weekly Annapolis After Dark is BeeprBuzz. She'll keep you up to speed on all of the fantastic live music we have in the area! And as usual, George from DCMDVA Weather is here with your local weather forecast! Please download their APP so you can keep on top of the local weather scene! The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing impaired subscribers, a full transcript is available on Eye On Annapolis

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

Warning: This is not a very uplifting film or podcast episode. Filmmaker Gaspar Noe has returned with a film about dementia and death starring Dario Argento, Francoise Lebrun, and Alex Lutz. If you saw the last Gaspar Noe movie we covered called Climax (2018), then this is a wildly different experience. We saw this at the dying and now permanently closed Landmark Theatres' Pico. Vortex has been widely praised and with good reason, but it is depressing as hell! You've been warned!

Give us about ten minutes a day and we will give you all the local news, local sports, local weather, and local events you can handle.   SPONSORS: Many thanks to our sponsors... Solar Energy Services because solar should be in your future! The Kristi Neidhardt Team. If you are looking to buy or sell your home, give Kristi a call at 888-860-7369! And- Alpha Engineering Today... Anne Arundel County Police are investigating a murder in Glen Burnie and a thief with a hatchet in South County; they also wrote a lot of tickets last week! More details and ticket info on the Annapolis Songwriters Festival. Landmark Theatres is opening up in the Harbour Center this weekend and there are free tickets up for grabs! Harold Brown is coming to Annapolis in mid-July. Pod news and more! It's Thursday, which means that Trevor from  Annapolis Makerspace is here with your Maker Minutes with great ideas to work out your mind and hone your skills. And as usual, George from DCMDVA Weather is here with your local weather forecast! Please download their APP so you can keep on top of the local weather scene! The Eye On Annapolis Daily News Brief is produced every Monday through Friday at 6:00 am and available wherever you get your podcasts and also on our social media platforms--All Annapolis and Eye On Annapolis (FB) and @eyeonannapolis (TW) NOTE: For hearing impaired subscribers, a full transcript is available on Eye On Annapolis  

Landmark Theatres will close their arthouse location on Pico Boulevard after 15 years. Is this the beginning of the end of indie theaters? Plans for a Poseidon Water desalination plant in Huntington Beach were unanimously rejected by the California Coastal Commission. What's the future for desalination in the state

We discuss our binge-watching habits during the pandemic, whether we prefer going to the theatre or watching from home, and how Parker’s ADHD impacts his ability to pay attention to what he’s watching.

In this week's episode of The Boxoffice Podcast, Daniel Loria, Rebecca Pahle, and Shawn Robbins discuss weekend box office numbers and predictions for the Thanksgiving weekend's new titles.In this week's Indie Focus feature, Rebecca and Daniel present some of the key insights from Boxoffice LIVE Sessions' State of the Art House webinar, featuring expertise from Paul Serwitz (President and COO, Landmark Theatres), Tori Baker (President & CEO, Salt Lake Film Society), Dylan Skolnick (Co-Director, Cinema Arts Centre), Barbara Twist (Director of Partnerships, Vidiots Foundation), and Barak Epstein (President, Aviation Cinemas / Texas Theatre).Give us your feedback on our podcast by accessing this survey: https://forms.gle/CcuvaXCEpgPLQ6d18 Episode Resources: FULL VIDEO: Boxoffice LIVE Sessions - State of the Art House 2021 Thanksgiving Box Office Forecast: Will Holiday Moviegoers Feast On Encanto, Ghostbusters: Afterlife, House of Gucci, and Resident Evil?   Cinematic Enchantment: Disney Reunites with Lin-Manual Miranda for Animated Musical Encanto   Interview with Resident Evil: Welcome to Raccoon City Writer-Director Johannes Roberts Ryusuke Hamaguchi on Adapting Haruki Murakami's Drive My Car   Weekend Box Office Recap: Ghostbusters: Afterlife Opens to $44M  Interview with Ghostbusters: Afterlife Director Jason Reitman No Time to Die Becomes Top Studio Title of 2020-2021 at the Global Box Office This Week on the Box Office Podcast: L.A.'s Iconic Vidiots Plans Its Return In Late 2021 This Week on The Boxoffice Podcast: Sundance at the Art House with The Texas Theatre Paul Serwitz on the Reopening of NYC Cinemas Art Houses Fight On: Salt Lake Film Society Launches @homeArts What to Listen For 00:00 Intro 03:42 Ghostbusters Afterlife opens to $44M domestically 06:12 King Richard debuts at $5.7M 08:17 No Time to Die remains theatrically exclusive 11:16 Latest weekend box office titles 14:28 What to expect during the Thanksgiving weekend? 15:18 Expectations for House of Gucci 18:30 Resident Evil: Welcome to the Raccoon City 21:15 Arthouse theaters stay innovative throughout the pandemic 23:12 Drivers that lead audiences back into theaters 26:25 Title availability compromises the theatrical business 29:00 Netflix and Amazon's pull on high quality films 31:13 Streaming is a way to gauge what content works 35:00 Marketing arthouses make for a title 37:47 Streamers are not targeting box office numbers 42:39 Creating a welcoming atmosphere for different communities 44:58 There's still a great need to diversify the audience

In this exclusive interview, Academy Award Best Actress winner Juliette Binoche gets deep into the psychology of self-deception, self-acceptance, social media, aging and more, as it relates to her latest film, WHO YOU THINK I AM, a romantic cyber-drama turned psychological thriller. In the film she plays a dual role, that of Claire, a mature literature professor, author and single mother of two teen boys - and Clara, her 24-year old online avatar who engages in a steamy relationship with a young photographer. Binoche is in conversation with Landmark's Margot Gerber. The film is now playing on the big screen in Landmark Theatres. Distributed by Cohen Media Group. To see what's onscreen: LandmarkTheatres.com

The movie theatre business has been gutted during COVID 19 - with revenues down, 70, 80, 90 per cent. And with so many of us making the move to high def streaming from the comfort of our homes, guest host Paul Karchut asks the CEO of Landmark Theatres, which has 46 theatres across Canada and is headquartered in Calgary, what the future holds for his industry.

Loretta Sarah Todd | BioLoretta Sarah Todd is a visionary leader in Indigenous media, considered a true artist with entrepreneurial energy and deep cultural knowledge. Her first dramatic feature, Monkey Beach, based on the iconic novel by Eden Robinson, recently launched to strong audience and critical response, screening at TIFF (Industry Selects), opening the Vancouver International Film Festival and sweeping the Drama awards at the American Indian and Red Nation Film Festivals in the USA, including Best Film and Best Director. With international awards adding up (Venice Film Awards, 7th Art International Film Festival), Monkey Beach was the #1 Canadian film for 4 weeks at Cineplex and Landmark Theatres. Ms. Todd has directed over 100 projects including award-winning documentaries (Forgotten Warriors, Remembering Chief Dan George, People Go On), digital media and games (My Cree App, Coyote Quest) animation (25 short animations) and TV. Ms. Todd created, produced, wrote and directed children's series (Tansi! Nehiyawetan 1-3, Coyote's Crazy Smart Science 1-3), sci-fi (Skye and Chang) and interactive media (Fierce Girls). She is in development with a new animated children's series called Nitanis & Skylar. Her media work encompasses contributions to the development of Indigenous media, providing opportunities for Indigenous cast, crew and creative, building new spaces for Indigenous production and expression and writing influential scholarly essays on issues of appropriation, representation and Indigenous futurism. Ms. Todd created the Aboriginal Media Lab with the Chief Dan George Centre and Simon Fraser University and was instrumental in the formation of the Aboriginal Arts Centre at the Banff Centre. Recently, she created the IM4 Media Lab, an Indigenous VR/AR/XR Lab, in collaboration with Emily Carr University of Art and Design, where she is the Creative Director. Trailblazing in the development of immersive technologies, Ms. Todd is currently a Fellow to the Inaugural Indigenous Delegation to the Co-Creation Lab at MIT, sponsored by the Indigenous Screen Office. And she is on the Advisory Board to the ONX Studio, a NYC based immersive technology art lab sponsored by the Onassis Foundation and the NEW MUSEUM, plus she was recently invited to be on the board of the Kalediascope Immersive Fund. A respected speaker, she's presented at VIFFImmersed, The Global AR/VR Summit, Kidscreen, Museum of Modern Art – as well the Aboriginal International Day of the World's Indigenous Peoples, at the United Nations – to name a few. Ms. Todd is an original. She ran away at 13, was homeless and became a teen mother – which changed her life. She went back to school and worked in bakeries, construction, restaurants – to stay off welfare and away from social workers who might take her daughter. Still she managed to become a writer, activist, entrepreneur and an award-winning filmmaker. She is a devotee of world cinema, sci-fi, obscure music, elegant fashion, forests, gardens and Paris – and is an instigator of fusion Indigenous cultural expression. She is also knowledgeable about her culture – creating and producing an award-winning children's series that teaches kids to speak Cree, her father's first language, as well as creating the first Cree language app.Her films have screened at the Sundance Festival, Toronto International Film Festival (TIFF), American Indian Film Festival (San Francisco), Yamagata Film Festival, ImagineNative, and the Museum of Modern Art, to name just a few. She has received many prestigious honours and awards, including a Rockefeller Fellowship to New York University, attendance to the Sundance Scriptwriter's Lab, Special Jury Citation (TIFF), Mayor's Award for Media Arts (City of Vancouver) and the recent Women of Excellence Award, from the United Nation's WEF Women's Economic Forum. Ms. Todd is Cree/Metis, from St. Paul des Metis, White Fish Lake First Nation and Turtle Mountain Chippewa in North Dakota. MONKEY BEACH TAGLINE: Based on the novel by Eden RobinsonSYNOPSIS: Waking up in her East Van apartment, Lisa (Grace Dove) is served notice by her cousin's ghost (Sera-Lys McArthur), "Your family needs you." Reunited with her Haisla kin in Kitimaat Village, she realizes that she's meant to save her brother, Jimmy, (Joel Oulette) from a tragic fate she's foreseen since childhood. Of course, there's also the matter of contending with the mystical creatures lurking in the nearby woods. And so begins a captivating allegory about learning to coexist with both the ghosts that haunt us and spirits who might enlighten us.In bringing Eden Robinson's beloved novel to the screen, Loretta S. Todd offers us a modern epic underpinned by themes that have long defined heroic journeys. Todd's first feature narrative unfolds through a thrilling array of temporal shifts and stylistic flourishes. A film about reconnection with the land, its denizens and the secrets it holds, Monkey Beach is also a testament to Indigenous women's ability to not just endure trials but emerge from them empowered.Like to have a ASC cinematographer as a mentor?Have you thought of upgrading your cinematography game? Would you like to have an ASC Cinematographer mentor you for free? Join veteran cinematographer Suki Medencevic, A.S.C. (Disney, Pixar, FX Networks, Netflix, American Horror Story). He teaches you how to create beautiful images using three lighting techniques he has mastered on film sets over his 30+ years in the film industry. Each technique uses basic, low-cost lighting equipment so that anyone can achieve beautiful visuals no matter your projects's budget.Learn film lighting from an ASC cinematographer. If you want to take your cinematography to the next level, this free training will get you there. These videos are available for a limited time, so sign up for instant access. CLICK HERE TO REGISTERhttps://www.ifhacademy.com/a/28632/aLFBXkpNIf you liked this podcast, shoot me an e-mail at filmmakingconversations@mail.comAlso, you can check out my documentary The People of Brixton, on Kwelitv here: https://www.kweli.tv/programs/the-people-of-brixtonDamien Swaby Social Media Links:Instagram https://www.instagram.com/filmmaker_damien_swaby/Twitterhttps://twitter.com/DamienSwaby?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5EauthorWebsite http://filmmakingconversations.com/If you enjoy listening to Filmmaking Conversations with Damien Swaby, I would love a coffee. Podcasting is thirsty work https://ko-fi.com/damienswaby

In this week’s episode, Content Marketing Institute’s Robert Rose is thinking about the long game (on purpose). He talks with marketing leader Folayo Lasaki about everything from the Facebook boycott to why representation matters as much in marketing as in media. And he shares an article that explains how to be purposeful with your purpose-driven content.  And that’s a wrap for the week ending July 17, 2020. NEWS ITEM OF THE WEEK Facebook boycott leaders ‘disappointed’ after meeting with Zuckerberg, Sandberg https://techcrunch.com/2020/07/07/facebook-boycott-meeting-stophateforprofit-zuckerberg-cox-sandberg/ INTERVIEW OF THE WEEK Robert’s guest this week is Folayo Lasaki, founder and head of brand consultancy Striped Elephant, which specializes in marketing, communications, development, media, and entertainment. Folayo is a 15-year entertainment industry veteran who has held marketing positions at companies including Variety, Landmark Theatres, Hollywire TV, Film Independent, IFP, and FILMMAKER Magazine. She is a member of International Academy of Digital Arts and Sciences, is a voting member of the Telly Awards, and sits on the board of directors of WIMMIES (Women in Media). A graduate of Pepperdine University and UCLA, Folayo lives in Los Angeles where she can often be found making a mess in the kitchen or waxing poetically about women and representation in media. Listen in, then learn more about Folayo: Connect with her on LinkedIn: https://www.linkedin.com/in/folayolasaki/ Connect with her on Twitter: https://twitter.com/justfolayo Visit the Striped Elephant website: http://www.stripesandelephants.com/ OUR CONTENT MARKETING IDEA OF THE WEEK How to be Purposeful With Your Purpose-Driven Content [Examples] https://contentmarketinginstitute.com/2018/11/purpose-driven-content-examples/ SPONSOR SiteCore A well-known marketing saying goes, “Content is king”. And with organizations having to rely on their digital channels more than ever these days to reach customers, creating and publishing effective and engaging content has taken on a whole new level of importance.  Sitecore recently held its inaugural Virtual Marketer Day, and one of the tracks was dedicated to helping organizations better manage their content – from beginning to end.  There is a  new post-event guide titled “Understanding the end-to-end content lifecycle”, with practical steps you can take to optimize your content engine and personalize digital experiences for your customers.   Download the guide today at: https://cmi.media/sitecore-lifecycle

Director Bernard-Henri Lévy discusses his pair of documentaries PESHMERGA and THE BATTLE OF MOSUL, screening together theatrically at select Landmark Theatres, with Mitchell Landsberg (Senior Editor - LA Times). This conversation was recorded at Landmark's NuArt Theatre on 1/17/20. Peshmerga: In 2015, Bernard-Henri Lévy travelled to the front lines of ISIS, seeking first-hand understanding of the ongoing conflict. With unprecedented access and disarming immediacy, Lévy and a team of cameramen journey across the 650 miles separating Iraqi Kurdistan from Islamic troupes. In close quarters with the Peshmergas, the Kurdish fighters who show unfailing determination in their harrowing battle against Jihadi fundamentalism, the images captured provide an arresting perspective on a still-unfinished war with immense global implications. The Battle of Mosul: Picking up where Peshmerga left off, the most recent of Bernard-Henri Lévy's riveting cinematic dispatches begins on October 17, 2017, the first day of the battle to free Mosul from the Islamic State. The declared capital of ISIS and the burial place of the Prophet Jonah, the city of Mosul holds great significance Muslims, Jews, and Christians alike. Following both the Kurds and the Iraqi Golden Division Special Forces, Lévy and his team once again provide front row access at every step of the strategic battle culminating in the reclamation of the eastern half of the city.

Director Bong Joon Ho discusses his latest film PARASITE with Landmark Theatres CEO Ted Mundorff following an advance screening of the film at the Landmark in Los Angeles on 10/1/19. Watch a different PARASITE Q&A on Landmark Theatres' Youtube Channel also  featuring actors Song Kang Ho and Park So Dam:  https://youtu.be/thH76Ju2hts Bong Joon Ho (Okja, Snowpiercer, The Host, Mother) brings his singular mastery home to Korea in this pitch-black modern fairytale. Meet the Park Family: the picture of aspirational wealth. And the Kim Family, rich in street smarts but not much else. Be it chance or fate, these two houses are brought together and the Kims sense a golden opportunity. Masterminded by college-aged Ki-woo, the Kim children expediently install themselves as tutor and art therapist to the Parks. Soon, a symbiotic relationship forms between the two families. The Kims provide “indispensable” luxury services while the Parks obliviously bankroll their entire household. When a parasitic interloper threatens the Kims' newfound comfort, a savage, underhanded battle for dominance breaks out, threatening to destroy the fragile ecosystem between the Kims and the Parks. By turns darkly hilarious and heart-wrenching, Parasite showcases a modern master at the top of his game. Winner of the Palme d'Or at the Cannes Film Festival.   

Actor Carey Mulligan speaks about her new film WILDLIFE with moderator Ted Mundorff (President/CEO of Landmark Theatres). Recorded at the Landmark in Los Angeles on 10/19/18.

Tunde and Fabe chop it up about the catch phrases, Landmark Theatres lawsuit, getting to the bottom of the Sakovia Accords, Damon Wayne's quitting Lethal Weapon, Ben Affleck and Jennifer Garner finalize divorce.

Shopify bans the sales of guns and accessories, even those legal in the U.S., Kroger Gets Into Online Grocery with “Kroger Ship”, Amazon rumored to be in the running to acquire Landmark Theatres, and more. You can see the full show notes for this episode at  https://www.ecommercefuel.com/august-21-2018/. The News Cart features industry news, community discussions, compelling job opportunities and interesting content around the web from the previous two weeks.  

This week, we're joined by Taylor Nakagawa to review Netflix's new high school romantic comedy "To All The Boys I've Loved Before." We also discuss Amazon's rumored plans to buy a movie theater chain, the fact that "Crazy Rich Asians" isn't a Netflix movie and Netflix's new deal with "Black-ish" creator Kenya Barris. Links: [Coming to a theater near you: Amazon?][1] [The Stakes Are High for 'Crazy Rich Asians' — And That's the Point][2] [Netflix signs exclusive deal with ‘Black-ish’ creator Kenya Barris][3] [1]:https://techcrunch.com/2018/08/16/night-of-the-living-amazon/ [2]:https://www.hollywoodreporter.com/features/crazy-rich-asians-story-behind-rom-com-1130965 [3]:https://techcrunch.com/2018/08/16/netflix-kenya-barris/

Subscribe on iTunes SHOW NOTES: www.5dollarplanet.com/014 In the Rick Calvert episode: Head honcho for 2 of the largest trade shows in the business: NMX (New Media Expo) and TBEX (Travel Bloggers Exchange),  Rick gives us his insider tips on succeeding in the world of new media and cutting through the noise of an overcrowded online space. Feature Topics in this episode:  Why going to conferences is so important for business success Is new media better than traditional media? What are TBEX & NMX and why they could benefit you Why new media is interactive and inclusive How to network with people who are bigger than you How to cut through the "noise" of other online content Will there ever be a day when newbies simply can't rank on google? Content is king but community is queen Why TV is on its last legs Why friendly blogging communities are about to become enemies Is Organic reach on Facebook over? OR tweet suggestions to @5dollartravel or #5dollarplanet  Quotes: [tweetthis]In New Media content is King but community is Queen - Rick Calvert[/tweetthis] [tweetthis]Don't use content to market your blog. Create content & market that content.[/tweetthis] Weblinks from Rick Calvert Episode World Nomads Insurance - Specifically designed for digital nomads, flashpackers, adventure & long term Travellers - Get a 5% Discount with our coupon code: WN5DP Trusted Housesitters.com - Use discount code 5DP to get a 15% discount on membership How to become a housesitting pro in just 3 months. TBEX - The Largest Travel bloggers event in the world. NMX - Join the Media Revolution MONDAY TOOL: Onecardme.com - Digital Business card site Mentions: Cracked - B.S. News Stories   Odesk - Find Freelancers   Scott Eddy   Coach Deb Cole - Marketing Director NMX & TBEX Events   Deb Ng - NMX grateful dead reference - Your Right, It's Not the Same   Mark Cuban - American businessman, investor, and owner of the NBA's Dallas Mavericks, Landmark Theatres, and Magnolia Pictures, and the chairman of the HDTV cable network AXS   Mark Burnett - Television producer and CEO of United Artists Media Group   Tom Webster - CVP of Strategy, Edison Research. Consumer insights, social media data and folksy analogies.   Chris Brogan - American author, journalist, marketing consultant, and speaker about social media marketing   Pat Flynn - leader in the areas of online entrepreneurship, digital marketing, and lifestyle businesses   Steel Panther - Kickass hair metal band that Tommo & Megsy Loooove!   Travel Massive - connects thousands of travel insiders to meet, learn and collaborate at free events all around the world.

Andrew's guest is Chicago-native comedian Jeff Garlin, co-star and an executive producer of HBO's "Curb Your Enthusiasm" starring Larry David.  The release of the documentary film "Finding Vivian Maier," now showing at the Landmark Theatres in Chicago and Highland Park, produced by Jeff Garlin, prompted Andrew to rebroadcast this 2012 conversation [...]

comScore Survey: Apple Only Top-Five Phone Maker to Grow U.S. Share in 3Q CY2011 / Canaccord Genuity Analyst: Apple Makes Over Half of World’s Cellphone Profits Selling Less Than a Twentieth of World’s Phones / Taiwan Clears iPhone 4S for Sale / U.S. Cellular Passed on Carrying iPhone / UK-Firm Finds Android Phones Most Prone to Breakage Among Smartphones / Report: EC Investigating Samsung for Possible Violation of EU Competition Laws / Apple Sued Over Alleged VPN-Patent Violation / Apple Issues Second iOS 5.0.1 Battery-Fix beta / Apple Seeds Safari beta with PDF Fix to Developers / Walgreens Piloting Program for In-Store, iPad-Equipped “Health Guides” / Apple VP of Global Security Resigns / CNET: Security Expert Doubts Apple Security VP was Forced Out / Apple Issues New Boatloads of Stock to Many Top Execs / Sanford Bernstein Analyst Thinks Apple Will Make an “Apple TV 3” Rather Than a Full-On Apple Television / HP Offering webOS Developers Discounted TouchPads / “Steve Jobs: The Lost Interview” Headed to Landmark Theatres