Podcast appearances and mentions of London After Midnight

The WORLD GOTH DAY edition of DJ cypher's Dark Nation Radio can now be channeled from the great beyond. The first of two back-to-back expanded broadcasts, this one offers three hours of new and class goth, as well as new releases by classic bands. Among those in the mix are London After Midnight, Peter Murphy, Black Angel, Vision Video, Siouxsie & the Banshees, Occults, Brides, Faith & the Muse, Chelsea Wolfe, Kali Dreamer, Fields of the Nephilim, Nox Novacula, The Cure, Then Comes Silence, Creux Lies, New Model Army, Clan of Xymox, Cemetery Sex, Depeche Mode, Strange Boutique, Damien Hearse, The Chameleons, and The Sisters of Mercy. Enjoy and may you have a suitable dark World Goth Day! And I hope you'll join me again this coming Sunday, May 25th, for the annual Dark Nation Radio GOTHIC BEACH PARTY--A 3-hour anything goes mix of goth, new wave, psychobilly, dark wave, surf rock, and general mayhem. BYO Tiki drinks. 9 PM EDT on sorradio.org. As always, if you like what you hear, I hope you will support the bands and consider following me on your preferred platform. Reposts of the show so that others can find out about it are particularly appreciated. Questions and promo materials may be directed to darknationradio@gmail.com. Thanks for your support! DJ cypher's Dark Nation Radio Playlist 19 May 2025 WORLD GOTH DAY 2025 Cemetery Sex, “Pain” London After Midnight, “Kiss” Brides, “Some Kind of Reptile” Occults, “Acts of Attrition” The Sisters of Mercy, “First and Last and Always” Autumn-US, “How It Came to Be This Way” Vision Video, “Dead Gods” Black Angel, “Turn Me On” Peter Murphy & Boy George, “Let the Flowers Grow” The Cure, “Drone:NoDrone” Damien Hearse, “Dry Wound” Christ vs. Warhol, “Welcome Home” Nox Novacula, “No Forgiveness” Stiiil, “In the Static” The Chameleons, “Nostalgia” Love & Rockets, “Mirror People” Strange Boutique, “Radium Kiss” Fields of the Nephilim, “Moonchild” Faith & the Muse, “Sparks” Empereur, “Amor Fati” Kali Dreamer,”In Loving Misery” SeaTemples, “La Oscuridad del Llano” Caressing Misery, “Veins Run Dry” Chelsea Wolfe, “Tunnel Lights (Crosses remix)” Mortes, “Sweetest Death” Clan of Xymox, “Blood of Christ” Lunar Paths, “Heartshot” New Model Army, “Green and Grey” Then Comes Silence, “Stay Strange” 30 Denari, “Vuoti Involucri” Les Lésions Divisées, “Ghostly Rips” Depeche Mode, “Stripped” Dead Lights, “Grind” Witchhands, “Derelict” Siouxsie & the Banshees, “Love in a Void” Bella Eterna, “Mysterious Beauty” The Funeral March, “Stars at Night” Creux Lies, “Apocalypto” Bauhaus, “God in an Alcove” DJ CYPHER'S DARK NATION RADIO—24 years strong! **Live Sundays @ 9 PM Eastern US on Spirit of Resistance Radio sorradio.org **Recorded @ http://www.mixcloud.com/cypheractive **Downloadable @ http://www.hearthis.at/cypheractive **Questions and material for airplay consideration to darknationradio[at] gmail[dot]com **Facebook @ http://www.facebook.com/groups/darknationradio

Send us a textA gothic tale of obsession between a haunted cigarette and the terrifying addict infatuated with it, causing untold horror to its pitch black lungs. On Episode 652 of Trick or Treat Radio we discuss Nosferatu from director Robert Eggers! We also talk about the story of Count Orlock and how he came to be, problematic films from the 70s, and horror getting its flowers from the Academy Awards. So manicure your historically accurate mustache, listen for the first cockcrow, and when you hear it strap on for the world's most dangerous podcast!Stuff we talk about: Horror Oscar Nominations, Count Orlock, Labyrinth, Werwulf, Scott Derrickson, Kino, Werner Herzog, Nosferatu 1979, Nosferatu 1922, Shadow of the Vampire, Willem Dafoe, Iran is so far away, living in a post 9/11 world, Smoke of the Vampire, The Substance, horror getting its due for the Academy Awards, Creature Commandos, Weasel, Frank Grillo, Indira Varma, G.I. Robot, Conclave, The Penguin, Colin Farrell, Cristin Milioti, Yellowjackets, Cobra Kai, Salem's Lot, Saturday Night Fever, John Travolta, Face/Off, Staying Alive, Sylvester Stallone, Lloyd Kaufman, Joyce Hyser, Fran Drescher, Cineverse, Toxic Avenger, unrated theatrical releases, Macon Blair, Charles Band, extended editions, Robert Eggers, Nosferatu, Lily Rose-Depp, Bill Skarsgard, Nicholas Hoult, London After Midnight, F.W. Morneau, Max Schreck, What We Do in the Shadows, is Lestat scary?, Bram Stroker, Blacula, William Marshall, mustaches on vampires, The Devil's Bath, The Cabinet of Dr. Caligari, Doug Jones, a half a dozen Eggers, and Creature From the Black Legume.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Welcome to Longlegs, a movie where everybody is DOING A VOICE! Nick Cage really does that Nick Cage thing you know so well. It's Silence of the Lambs with the actual Devil involved? I'll watch anything where Maika Monroe in it, but here she is playing and FBI agent tracking a psychotic serial killer. She's doing some interesting stuff with her character feeling a bit autism coded, but they never come out and say it, so your mileage may vary.If a woman dressed as a nun shows up and your doorstep offering you a life size doll that looks exactly like you child and says you won it from a church you don't even go to, just say no. Okay? Say no to the doll.We are joined by amazing comics academic and podcaster Jason DeHart. Check out his podcast "Words, Images, Worlds" on which Jeremy has been a guest in the past right here: https://open.spotify.com/show/1z6Q8Aps4qy8UilACZeiQB?si=250899ef46b4421cFollow Jason on Bluesky here: https://bsky.app/profile/wordsimagesworlds.bsky.socialDirector: Osgood PerkinsWriters: Osgood PerkinsStars: Maika Monroe, Nicholas Cage, Blair Underwood, Alicia Witt, Kiernan ShipkaRecommendations:Ben - Silence of the Lambs, Zodiac, Se7en, MindhunterJason - Patra, London After Midnight Jeremy - Doki Doki Literature Club (ALL THE CONTENT WARNINGS) Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Experience the resurrection of the legendary horror classic "London After Midnight" in graphic novel form. We got an exclusive interview with Dirk Manning to discover how the lost horror film has been REVIVED! London After Midnight is just the beginning, there's more to come as Dirk explains this Kickstarter and who will be the focus of the next one.   #Interview #Horror #ClassicHorror #LondonAfterMidnight #KickStarter #BeyondtheWheel #GraphicNovel #WheelofComicBookDestiny #Comics #WGU #SpotlightInterview #Popculture #ActionLineStudios #DirkManning #SmurfsTake #5280Geek #StayGeeky

Stitched Up Heart bass player Randy Mathias and actor/comedian Rosalee Mayeux joined Mark and Nicole for a fast and funny show Randy has known Mark and Nicole for a long time through the LA Goth scene and talks about his journey from forming bands with former members of Marilyn Manson and Dead Kennedys, to his being in legendary goth band London After Midnight (where he ran onstage in Germany in a thong) to joining Stitched Up Heart and going from touring in a cramped van, to playing barns in Louisiana, to playing on cruise ships, opening for Godsmack and Steel Panther to performing in festivals worldwide (including a recent one where due to weather they headlined in lieu of Guns N Roses). He explains how COVID affected a plan push for the band and stranded him in England for a time and how there is new Stitched Up Heart music on the way and 2023 will be a big year for the band Rosalee grew up in a small town in Louisiana and then became a very successful fashion model in Paris.  She was fired by Versace in a most unusual way which led to her being the most successful "mom" in advertising, filming over 300 commercials and working with stars such as Leslie Nielsen, Shirley MacLaine and Bill Murray, with whom Rosalee found herself trapped in a closet with. She also talks about starring in the cult movie The Lawnmower Man, and how she found herself again in stand-up comedy where she can tame even the rowdiest and dirtiest crowds in LA and beyond with her sharp wit and stage presence. Go to lulu.com and get Nicole's poetry book “Slow Burn” This show is sponsored by: Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.” Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash Renagade CBD Go to renagadecbd.com for all of your CBD needs Tactical Soap Smell Great with Pheromone infused products and drive women wild with desire! Go to https://grondyke-soap-company.myshopify.com/?rfsn=7187911.8cecdba

This week on the blog, a podcast interview with the writer of a great new book, “London After Midnight: The Lost Film,” a book about the classic lost Lon Chaney film.LINKS A Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Daniel's Facebook Page: https://www.facebook.com/p/London-After-Midnight-The-Lost-Film-100075993768254/Buy the Book “London After Midnight: The Lost Film”: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTJohn: So, Daniel, when did you first become aware of London After Midnight? Daniel: I was about seven years old when I first stumbled into Lon Chaney through my love of all things Universal horror, and just that whole plethora of characters and actors that you just knew by name, but hadn't necessarily seen away from the many still photographs of Frankenstein, Dracula, Dr. Jekyll and Mr. Hyde. And the Phantom was the one to really spark my interest. But this was prior to eBay. I couldn't see the film of Lon Chaney's Phantom of the Opera for a year. So, I kind of had the ultimate build to books and documentaries, just teasing me, teasing me all the time. And when I eventually did watch a few documentaries, the one thing that they all had in common was the name Lon Chaney. I just thought I need to learn more about this character Lon Chaney, because he just found someone of superhuman proportions just who have done all of these crazy diverse characters. And, that's where London After Midnight eventually peeked out at me and, occupied a separate interest as all the Chaney characterizations do.John: So how did you get into the Universal films? Were you watching them on VHS? Were they on tv? Did the DVDs happen by then?Daniel: I was still in the VHS days. My dad is a real big fan of all this as well. So he first saw Bela Lugosi's Dracula, on TV when he was a kid. And prior to me being born he had amassed a huge VHS collection and a lot of those had Boris Karloff, Bela Lugosi, Henry Hull, Claude Rains, Vincent Price, what have you.And a lot of them were dedicated to Universal horrors. And as a young curious kid, my eyes eventually crossed these beautiful cases and I really wanted to watch them. I think my first one I ever watched was The Mummy's Tomb or Curse of the Mummy. And it's just grown ever since, really.John: You're starting at the lesser end of the Universal monsters. It's like someone's starting the Marx Brothers at The Big Store and going, "oh, these are great. I wonder if there's anything better?" Jim: Well, I kinda like the fact that you have come by this fascination, honestly, as my father would say. You sort of inherited the family business, if you will. The book is great. The book is just great. And I'll be honest, I had no, except for recording the novel that John wrote, I really had no frame of reference for London after Midnight.John: Well, Jim, were you a monster guy? Were you a Universal Monster kid?Jim: Oh yeah. I mean, I had all the models. I love all of that, and certainly knew about Lon Chaney as the Phantom of the Opera, as The Hunchback of Notre Dame. I knew he was the man with a thousand faces. I knew he, when he died, he wrote JR. on his makeup kit and gave it to his kid. So, I knew stuff. But London after Midnight I didn't know at all, except for the sort of iconic makeup and that image, which I was familiar with. What was the inspiration for you in terms of writing this book?Daniel: Like you say, I really had no immediate go-to reference for London after Midnight, away from one or two images in a book. Really clearly they were very impactful images of Chaney, skulking around the old haunted mansion with Edna Tichenor by his side with the lantern, the eyes, the teeth, the cloak, the top hat, the webs, everything. Pretty much everything that embodies a good atmospheric horror movie, but obviously we couldn't see it.So that is all its fangs had deepened itself into my bloodstream at that point, just like, why is it lost? Why can't I see it? And again, the term lost film was an alien concept to me at a young age. I've always been a very curious child. Anything that I don't know or understand that much, even things I do understand that well, I always have to try to find out more, 'cause I just can't accept that it's like a bookend process. It begins and then it ends. And that was the thing with London after Midnight. Everything I found in books or in little interviews, they were just all a bit too brief. And I just thought there has to be a deeper history here, as there are with many of the greatest movies of all time. But same with the movies that are more obscure. There is a full history there somewhere because, 'cause a film takes months to a year to complete.It was definitely a good challenge for me. When we first had our first home computer, it was one of those very few early subjects I was typing in like crazy to try to find out everything that I could. And, that all incubated in my little filing cabinet, which I was able to call upon years later.Some things which were redundant, some things which I had the only links to that I had printed off in advance quite, sensibly so, but then there were certain things that just had lots of question marks to me. Like, what year did the film perish? How did it perish? The people who saw the film originally?And unlike a lot of Chaney films, which have been covered in immense detail, London after Midnight, considering it's the most famous of all lost films, still for me, had major holes in it that I just, really wanted to know the answers to. A lot of those answers, eventually, I found, even people who knew and institutions that knew information to key events like famous MGM Fire, they were hard pressed to connect anything up, in regards to the film. It was like a jigsaw puzzle. I had all these amazing facts. However, none of them kind of made sense with each other.My favorite thing is researching and finding the outcomes to these things. So that's originally what spiraled me into the storm of crafting this, initial dissertation that I set myself, which eventually became so large. I had to do it as a book despite, I'd always wanted to do a book as a kid.When you see people that you idolize for some reason, you just want to write a book on them. Despite, there had been several books on Lon Chaney. But I just always knew from my childhood that I always wanted to contribute a printed volume either on Chaney or a particular film, and London after Midnight seemed to present the opportunity to me.I really just didn't want it to be a rehash of everything that we had seen before or read before in other accounts or in the Famous Monsters of Filmland Magazine, but just with a new cover. So, I thought I would only do a book if I could really contribute a fresh new perspective on the subject, which I hope hopefully did.John: Oh, you absolutely did. And this is an exhaustive book and a little exhausting. There's a ton of stuff in here. You mentioned Famous Monster of the Filmland, which is where I first saw that image. There's at least one cover of the magazine that used that image. And Forrest Ackerman had some good photos and would use them whenever he could and also would compare them to Mark the Vampire, the remake, partially because I think Carol Borland was still alive and he could interview her. And he talked about that remake quite a bit. But that iconic image that he put on the cover and whenever he could in the magazine-- Jim and I were talking before you came on, Daniel, about in my mind when you think of Lon Chaney, there's three images that come to mind: Phantom of the Opera, Quasimoto, and this one. And I think this one, the Man in the Beaver hat probably is the most iconic of his makeups, because, 'cause it is, it's somehow it got adopted into the culture as this is what you go to when it's a creepy guy walking around. And that's the one that everyone remembers. Do you have any idea, specifically what his process was for making that look, because it, it is I think ultimately a fairly simple design. It's just really clever.Daniel: Yes, it probably does fall into the category of his more simplistic makeups. But, again, Chaney did a lot of things simplistic-- today --were never seen back then in say, 1927. Particularly in the Phantom of the Opera's case in 1925, in which a lot of that makeup today would be done through CG, in terms of trying to eliminate the nose or to make your lips move to express dialogue. Chaney was very fortunate to have lived in the pantomime era, where he didn't have to rely on how his voice would sound, trying to talk through those dentures, in which case the makeup would probably have to have been more tamed to allow audio recorded dialogue to properly come through.But with regards to the beaver hat makeup, he had thin wires that fitted around his eyes to give it a more hypnotic stare. The teeth, which he had constructed by a personal dentist, eventually had a wire attached to the very top that held the corners of his mouth, opening to a nice curved, fixated, almost joker like grin.You can imagine with the monocles around his eyes, he was thankful there probably wasn't that much wind on a closed set, because he probably couldn't have closed his eyes that many times. But a lot of these things become spoken about and detailed over time with mythic status. That he had to have his eyes operated on to achieve the constant widening of his eyelids. Or the teeth -- he could only wear the teeth for certain periods of time before accidentally biting his tongue or his lips, et cetera. But Chaney certainly wasn't a sadist, with himself, with his makeups. He was very professional. Although he did go through undoubtedly a lot of discomfort, especially probably the most, explicit case would be for the Hunchback of Notre Dame, in which his whole body is crooked down into a stooped position.But, with London After Midnight, I do highly suspect that the inspiration for that makeup in general came from the Dracula novel. And because MGM had not acquired the rights to the Dracula novel, unlike how Universal acquired the rights of the Hunchback or, more importantly, Phantom of the Opera, by which point Gaston Leroux was still alive.It was just a loose adaptation of Dracula. But nevertheless, when you read the description of Dracula in Bram Stoker's novel, he does bear a similarity to Chaney's vampire, in which it's the long hair, a mouth full of sharp teeth, a ghastly pale palor and just dressed all in black and carries around a lantern.Whereas Bela Lugosi takes extraordinary leaps and turns away from the Stoker novel. But it must have definitely had an impact at the time, enough for MGM to over-market the image of Chaney's vampire, which only appears in the film for probably just under four minutes, compared to his detective disguise, which is the real main character of the film.Although the thing we all wanna see is Cheney moving about as the vampire and what facial expressions he pulled. It's just something that we just want to see because it's Lon Chaney.John: Right. And it makes you wonder if he had lived and had gotten to play Dracula, he kind of boxed himself into a corner, then if he'd already used the look from the book, you wonder what he would've come up with, if Lugosi hadn't done it, and if Chaney had had been our first Dracula.Jim: You know, the other thing that I think of strictly like through my actor filter is here's a guy who -- take Hunchback or Phantom or even this thing -- whatever process he went through to put that makeup on, you know, was hours of work, I'm sure. Hunchback several hours of work to get to that, that he did himself, and then they'd film all day.So, on top of, I mean, I just think that that's like, wow, when you think about today where somebody might go into a makeup chair and have two or three people working on them to get the look they want. Even if it took a few hours, that person is just sitting there getting the makeup done. He's doing all of this, and then turns in a full day, uh, in front of the cameras, which to me is like, wow, that's incredible.Daniel: Definitely, it's like two jobs in one. I imagine for an actor it must be really grueling in adapting to a makeup, especially if it's a heavy makeup where it covers the whole of your head or crushes down your nose, changes your lips, the fumes of chemicals going into your eyes.But then by the end of it, I imagine you are quite exhausted from just your head adapting to that. But then you have to go out and act as well. With Chaney, I suppose he could be more of a perfectionist than take as much time as he wanted within reason. And then once he came to the grueling end of it all, he's actually gotta go out and act countless takes. Probably repair a lot of the makeup as well after, after a couple of takes, certainly with things like the Hunchback or the Phantom of the Opera.John: And, you know, it's not only is he doing the makeup and acting, but in, you know, not so much in London After Midnight, but in Phantom of the Opera, he is quite athletic. When the phantom moves, he really moves. He's not stooped. He's got a lot of energy to him and he's got a makeup on that, unlike the Quasimoto makeup, what he's attempting to do with the phantom is, reductive. He's trying to take things away from his face.Daniel: Mm-hmm.John: And he's using all the tricks he knows and lighting to make that happen, but that means he's gotta hit particular marks for the light to hit it just right. And for you to see that his face is as, you know, skull-like as he made it. When you see him, you know, in London After Midnight as the professor inspector character, he has got a normal full man's face. It's a real face. Much like his son, he had a kind of a full face and what he was able to do with a phantom and take all that away, and be as physical as he was, is just phenomenal. I mean, he was a really, besides the makeup, he was a really good actor.Daniel: Oh, definitely. Jim: I agree with that completely. I kind of in what I watched, I wonder if he was the makeup artist, but not the actor and he did exactly the same makeup on somebody else. And so we had the same image. If those things would've resonated with us the way they do today. I think it had everything to do with who he was and his abilities in addition to the incredible makeup. He was just a tremendous performer.Daniel: Absolutely. He was a true multitasker. In his early days of theater, he was not only an actor, but he was a choreographer. He had a lot of jobs behind the scenes as well. Even when he had become a star in his own time, he would still help actors find the character within them. like Norma Sheera, et cetera. People who were kind of new to the movie making scene and the directors didn't really have that much patience with young actors or actresses. Whereas Chaney, because of his clout in the industry, no one really interfered with Chaney's authority on set. But he would really help actors find the character, find the emotion, 'cause it was just all about how well you translate it over for the audience, as opposed to the actor feeling a certain way that convinces themselves that they're the character. Chaney always tried to get the emotions across to the audience. Patsy Ruth Miller, who played Esemerelda in in the Hunchback, said that Chaney directed the film more than the director actually did.The director was actually even suggested by Chaney. So, Chaney really had his hands everywhere in the making of a film. And Patsy Ruth Miller said the thing that she learned from him was that it's the actress's job to make the audience feel how the character's meant to be feeling, and not necessarily the actor to feel what they should be feeling based on the script and the settings and everything.So I think, that's why Chaney in particular stands out, among all of the actors of his time.John: I think he would've transitioned really well into sound. I think, he had everything necessary to make that transition.Jim: There's one sound picture with him in it, isn't there, doesn't he? Doesn't he play a ventriloquist? John: I believe so.Daniel: Yes, it was a remake of The Unholy Three that he had made in 1925 as Echo the ventriloquist, and the gangster. And yes, by the time MGM had decided to pursue talkies -- also, funny enough, they were one of the last studios to transition to, just because they were the most, one, probably the most dominant studio in all of Hollywood, that they didn't feel the pressure to compete with the burgeoning talkie revolution.So they could afford to take their time, they could release a talkie, but then they could release several silent films and the revenue would still be amazing for the studio. Whereas other studios probably had to conform really quick just because they didn't have the star system, that MGM shamelessly flaunted. And several Chaney films had been transitioned to sound at this point with or without Chaney. But for Chaney himself, because he himself was the special effect, it was guaranteed to be a winner even if it had been an original story that isn't as remembered today strictly because people get to hear the thing that's been denied them for all this time, which is Chaney's voice. And he would've transitioned very easily to talkies is because he had a very rich, deep voice, which, coming from theater, he had to have had, in terms of doing dialogue. He wasn't someone like a lot of younger actors who had started out predominantly in feature films who could only pantomime lines. Chaney actually knew how to deliver dialogue, so it did feel natural and it didn't feel read off the page.And he does about five voices in The Unholy Three. So MGM was truly trying to market, his voice for everything that they could. As Mrs. O'Grady, his natural voice, he imitates a parrot and a girl. And yeah, he really would've flourished in the sound era. Jim: Yeah. John: Any surprises, as it sounds like you were researching this for virtually your whole life, but were there any surprises that you came across, as you really dug in about the film?Daniel: With regards to London after Midnight, the main surprise was undoubtedly the -- probably the star chapter of the whole thing -- which is the nitrate frames from an actual destroyed print of the film itself, which sounds crazy to even being able to say it. But, yeah the nitrate frames themselves presented a quandary of questions that just sent me into a whole nother research mode trying to find out where these impossible images came from, who they belonged to, why they even existed, why they specifically existed.Because, looking for something that, you know, you are told doesn't exist. And then to find it, you kind of think someone is watching over you, planting this stuff as though it's the ultimate tease. To find a foreign movie poster for London After Midnight would be one thing, but to find actual pieces of the lost film itself. It was certainly the most out of body experience I've ever had. Just to find something that I set out to find, but then you find it and you still can't believe that you've actually found it.John: How did you find it?Daniel: I had connections with a few foreign archives who would befriend me and took to my enthusiasm with the silent era, and specifically Chaney and all the stars connected to Chaney films.And, quite early on I was told that there were a few photo albums that had various snippets of silent films from Chaney. They didn't really go into what titles these were, 'cause they were just all a jumble. All I knew is that they came from (garbled) widow. And he had acquired prints of the whole films from various, I suppose, junk stores in Spain.But not being a projectionist, he just purely took them at the face value that he just taken the images and snipping them up and putting them in photo albums, like how you would just do with photographs. And then the rest of the material was sadly discarded by fire. So, all we were left with were these snipped relics, survivors almost to several Chaney lost films. Some of them not lost, but there were films like The Phantom of the Opera in there, the Hunchback of Notre Dame, Mockery, The Unknown. But then there were several lost films such as London After Midnight, the Big City, Thunder. And All the Brothers were Valiant, which are mainly other than Thunder are all totally complete lost films.So, to find this little treasure trove, it was just finding out what the images meant and connecting them up, trying to put them in some sort of chronological scholarly order. Grueling, but it was very fun at the same time. And because I had identified myself with all of these surviving production stills from the film -- a lot of them, which formed the basis of the 2002 reconstruction by Turner Classic Movies -- it didn't take me too long to identify what scenes these surviving nitrate frames were from. But there were several frames which had sets that I recognized and costumes that I recognized, but in the photographic stills, they don't occupy the same space at the same time. So, it's like the two separate elements had crossed over. So that left me with a scholarly, question of what I was looking at. I was able to go back and, sort of rectify certain wrongs that have been accepted throughout the sixties as being the original, say, opening to London after Midnight. So I've, been able to disprove a few things that have made the film, I suppose, a bit more puzzling to audiences. Some audiences didn't really get what the plot was to begin with. So, it was nice to actually put a bit more order to the madness finally.John: At what point did you come across the original treatment and the script?Daniel: The treatment and the script, they came from a private collector who had bought them at auction a number of years ago who I was able to thankfully contact, and they still had the two documents in question. I had learned through Philip J Riley's previous books on London after Midnight that he had the two latter drafts of the script, the second edition and the third draft edition.And, again, the question of why and where. I just always wondered where that first draft of the script was, hoping it would contain new scenes, and open new questions for me and to study. And once I've managed to find those two documents, they did present a lot of new, perspectives and material that added to the fuller plot of the original hypnotist scenario, as opposed to the shortened, time efficient London After Midnight film that was ultimately delivered to audiences. So again, it helped to put a little bit more order to the madness.Jim: You found an actual piece of the film that you were able to, somebody got images from it? And then you found the scripts? But the images are terrific and they're all in your book. They came from what exactly?Daniel: The just below 20 images of the film came from originally a distribution print, a Spanish distribution print, from about 1928. Originally, they were on 35 millimeter indicating that they were from the studio and as is with a lot of silent films that have been found in foreign archives.Normally when a film is done with its distribution, it would have to be returned to the original studio to be destroyed, except for the original negative and a studio print, because there is no reason why a studio would need to keep the thousands of prints when they have the pristine copy in their vault. But, in a lot of smaller theater cases, in order to save money on the postage of the shipping, they would just basically declare that they had destroyed the film on the studio's behalf. There was no record system with this stuff and that's how a lot of these films ended up in the basements of old theaters, which are eventually when they closed, the assets were sold off to collectors or traveling showmen. And eventually these films found their ways into archives or again, private collections. Some of which people know what they have.A lot of times they don't know what they have because they're more obsessed with, naturally, more dedicated to preserving the films of their own culture that was shown at the time, as opposed to a foreign American title, which they probably assume they already have a copy of. But it's how a lot of these films get found.And, with the London After Midnight, example, there were the images that I found spanned the entire seven reels, because they came from different points in the film. It wasn't a single strip of film, of a particular scene. Having thankfully the main source that we have for London After Midnight is the cutting continuity, which is the actual film edited down shot for shot, length for length.And it describes, briefly, although descriptive enough, what is actually in each and every single shot of the film. And comparing the single frame images from the film with this document, I was able to identify at what point these frames came from during the film, which again spanned the entire seven reels, indicating that a complete seven reel version of the film had gotten out under the studio system at one point.As is the case, I'm assuming, 'cause these came from the same collection, I'm assuming it was the same with the other lost Chaney films that again, sadly only survive in snippet form.John: It's like somebody was a collector and his wife said, "well, we don't have room for all this. Just take the frames you like and we'll get rid of the rest of it." So, you mentioned in passing the 2002 reconstruction that Turner Classic Movies did using the existing stills. I don't know if they were working from any of the scripts or not. That was the version I originally saw when I was working on writing, those portions of The Misers Dream that mentioned London After Midnight. Based on what you know now, how close is that reconstruction and where do you think they got it right and where'd they get it wrong?Daniel: The 2002, reconstruction, while a very commendable production, it does stray from the original edited film script. Again, the problem that they clearly faced on that production is that there were not enough photographed scenes to convey all the photographed scenes from the film. So what they eventually fell into the trap of doing was having to reuse the same photograph to sometimes convey two separate scenes, sometimes flipping the image to appear on the opposite side of the camera. And, because of the certain lack of stills in certain scenes cases, they had to rewrite them.And sometimes a visual scene had to have been replaced with an inter-title card, merely describing what had happened or describing a certain period in time, as opposed to showing a photograph of what we're meant to be seeing as opposed to just reading. So, they did the best with what they had.But since then, there have been several more images crop up in private collections or in the archives. So, unless a version of the film gets found, it's certainly an endeavor that could be revisited, I think, and either do a new visual reconstruction of sort, or attempt some sort remake of the film even.Jim: That's an idea. John: They certainly have the materials to do that. I've got an odd question. There's one famous image, a still image from the film, showing Chaney as Professor Burke, and he is reaching out to the man in the beaver hat whose back is to us. Is that a promo photo? Spoiler alert, Burke is playing the vampire in the movie. He admits that that's him. So, he never would've met the character. What is the story behind that photo?Daniel: There are actually three photographs depicting that, those characters that you described. There are the two photographs which show Chaney in the Balfor mansion seemingly directing a cloaked, top hatted figure with long hair, with its back towards us. And then there is another photograph of Chaney in the man in the beaver hat disguise with a seemingly twin right beside him outside of a door.Basically the scenes in the film in which Chaney appear to the Hamlin residents, the people who are being preyed upon by the alleged vampires, the scenes where Chaney and the vampire need to coexist in the same space or either appear to be in the same vicinity to affect other characters while at the same time interrogating others, Chaney's character of Burke employs a series of assistants to either dress up as vampires or at certain times dress up as his version of the vampire to parade around and pretend that they are the man in the beaver hat. Those particular shots, though, the vampire was always, photographed from behind rather than the front.The very famous scene, which was the scene that got first got me interested in London After Midnight, in which the maidm played by Polly Moran is in the chair shrieking at Chaney's winged self, hovering over her. It was unfortunate to me to realize that that was actually a flashback scene told from the maid's perspective.And by the end of the film, the maid is revealed to be an informant of Burke, a secret detective also. So, it's really a strong suspension of disbelief has to be employed because the whole scene of Chaney chasing the maid through the house and appearing under the door, that was clearly just the MGMs marketing at work just to show Chaney off in a bizarre makeup with a fantastic costume.Whereas he is predominantly the detective and the scenes where he's not needed to hypnotize a character in the full vampire makeup, he just employs an assistant who parades around in the house as him, all the times with his back turned so that the audience can't latch on as to who the character actually is, 'cause it must have posed quite a fun confusion that how can Chaney be a detective in this room where the maid has just ran from the Vampire, which is also Chaney?John: Yeah, and it doesn't help that the plot is fairly convoluted anyway, and then you add that layer. So, do you think we'll ever see a copy of it? Do you think it's in a basement somewhere?Daniel: I've always personally believed that the film does exist. Not personally out of just an unfounded fanboy wish, but just based on the evidence and examples of other films that have been found throughout time. Metropolis being probably the most prominent case. But, at one point there was nothing on London After Midnight and now there is just short of 20 frames for the film. So, if that can exist currently now in the year 2023, what makes us think that more footage can't be found by, say, 2030? I think with fans, there's such a high expectation that if it's not found in their own lifetime or in their own convenience space of time, it must not exist. There's still a lot of silent lost treasures that just have not been found at all that do exist though. So, with London After Midnight, from a purely realistic standpoint, I've always theorized myself that the film probably does exist in an archive somewhere, but it would probably be a very abridged, foreign condensed version, as opposed to a pristine 35-millimeter print that someone had ripped to safety stock because they knew in the future the film would become the most coveted of all lost films. So, I do believe it does exist. The whole theory of it existing in a private collection and someone's waiting to claim the newfound copyright on it, I think after December of last year, I think it's finally put that theory to rest. I don't think a collector consciously knows they have a copy of it. So, I think it's lost until found personally, but probably within an archive.Jim: Lost until found. That's a great title for a book. I like that a lot. What do you think of the remake, Mark of the Vampire and in your opinion, what does it tell us about, London After Midnight?Daniel: Well, Mark of the Vampire came about again, part of the Sound Revolution. It was one of those because it was Chaney and Todd Browning's most successful film for the studio. And Browning was currently, being held on a tight leash by MGM because of his shocking disaster film Freaks, I suppose they were a little bit nervous about giving him the reign to do what he wanted again. So, looking through their backlog of smash silent hits, London After Midnight seemed the most logical choice to remake, just simply because it was their most, successful collaboration. Had it have been The Unholy Three, I'm sure? Oh no, we already had The Unholy Three, but had it have been another Browning Chaney collaboration, it might have been The Unknown, otherwise. So, I suppose that's why London After Midnight was selected and eventually turned into Mark of the Vampire. The story does not stray too much from London After Midnight, although they seem to complicate it a little bit more by taking the Burke vampire character and turning it this time into three characters played by three different actors, all of which happened to be in cahoots with one another in trying to solve an old murder mystery.It's very atmospherical. You can definitely tell it's got Todd Browning signature on it. It's more pondering with this one why they just did not opt to make a legit, supernatural film, rather than go in the pseudo vampire arena that they pursued in 1927. Where audiences had by now become accustomed to the supernatural with Dracula and Frankenstein in 1931, which no longer relied on a detective trying to find out a certain mystery and has to disguise themselves as a monster.The monster was actually now a real thing in the movies. So I think if Bela Lugosi had been given the chance to have played a real Count Mora as a real vampire, I think it would've been slightly better received as opposed to a dated approach that was clearly now not the fashionable thing to do.I suppose again, because Browning was treading a very thin line with MGM, I suppose he couldn't really stray too far from the original source material. But I find it a very atmospherical film, although I think the story works better as a silent film than it does as a sound film, because there's a lot of silent scenes in that film, away from owls, hooting and armadillos scurrying about and winds. But I do think, based on things like The Cat and The Canary from 1927 and The Last Warning, I just think that detective sleuth with horror overtones serves better to the silent world than it does the sound world away from the legit, supernatural.John: So, if Chaney hadn't died, do you think he would have played Dracula? Do you think he would've been in Freaks? Would Freaks have been more normalized because it had a big name in it like that?Daniel: It would've been interesting if Chaney had played in Freaks. I think because Todd Browning used the kinds of individuals that he used for Freaks, maybe Chaney would've, for a change, had been the most outta place.John: Mm-hmm.Daniel: I do think he might have played Dracula. I think Universal would've had a hell of a time trying to get him over because he had just signed a new contract with MGM, whereas Todd Browning had transferred over to Universal by 1930 and really wanted to make Dracula for many years and probably discussed it with Chaney as far back as 1920.But certainly MGM would not have permitted Chaney to have gone over to Universal, even for a temporary period, without probably demanding a large piece of the action, in a financial sense, because Universal had acquired the rights to Dracula at this point. And, based on the stage play that had, come out on Broadway, it was probably assured that it was going to be a giant moneymaker, based on the success of the Dracula play.But because of Cheney's, status as a, I suppose retrospectively now, as a horror actor, he was probably the first person to be considered for that role by Carl Laemmle, senior and Junior for that matter. And Chaney gone by 1930, it did pose a puzzle as to who could take over these kinds of roles.Chaney was probably the only one to really successfully do it and make the monster an actual box office ingredient more than any other actor at that time, as he did with. Phantom, Blind Bargain and London After Midnight. So, I think to have pursued Chaney for a legit, supernatural film would've had enormous possibilities for Browning and Chaney himself.You can kind of see a trend, a trilogy forming, with Browning, from London After Midnight, in which he incorporates things he used in Dracula in London After Midnight. So, he kind of had this imagery quite early on. So, to go from – despite it's not in that order -- but to have London After Midnight, Mark of the Vampire, and he also did Dracula, he clearly was obsessed with the story. And I think Chaney was probably the, best actor for someone like Browning who complimented his way of thinking and approach to things like silence. As opposed to needing dialogue all the time, loud commotions. So, I think they dovetailed each other quite well, and that's why their ten year director actor relationship was as groundbreaking as it was.Jim: If the film does surface, if we find the film, what do you think people, how are they gonna react to the movie when they see it? What do you think? What's gonna be the reaction if it does surface?Daniel: Well, the lure of London After Midnight, the power in the film is its lost status rather than its widespread availability. I think it could never live up to the expectation that we've built up in our heads over the past 40 to 60 years. It was truly people, fans like Forrest J Ackerman that introduced and reignited the interest in Chaney's career by the late fifties and 1960s. That's when London After Midnight started to make the rounds in rumor, the rumors of a potential print existing, despite the film had not long been destroyed at that point. So, it was always a big mystery. There were always people who wanted to see the film, but with no access to home video, or et cetera, the only way you could probably see the film would've been at the studio who held everything. And, by the time the TV was coming out, a lot of silent films didn't make it to TV. So again, it has just germinated in people's heads probably in a better form than what they actually remembered. But, the true reality of London After Midnight is one more closer to the ground than it is in it's people are probably expecting to see something very supernatural on par with Dracula, whereas it's more so a Sherlock Holmes story with mild horrorish overtones to it that you can kind of see better examples of later on in Dracula in 1930 and in Mark of the Vampire.It's a film purely, I think for Lon Chaney fans. For myself, having read everything I can on the film, everything I've seen on the film, I personally love silent, detective stories, all with a touch of horror. So, I personally would know what I am going in to see. I'm not going in to see Chaney battling a Van Helsing like figure and turn to dust at the very end or turning to a bat. I'm going to see a detective melodrama that happens to have what looks like a vampire. So, it certainly couldn't live up to the expectations in people's minds and it's probably the only film to have had the greatest cheapest, marketing in history, I would think. It's one of those films, if it was discovered, you really would not have to do much marketing to promote it.It's one of those that in every fanzine, magazine, documentary referenced in pop. It has really marketed itself into becoming what I always call the mascot of the genre. There are other more important lost films that have been lost to us. The main one again, which has been found in its more complete form, was Metropolis, which is a better movie.But unlike Metropolis, London After Midnight has a lot more famous ingredients to it. It has a very famous director. It has a very famous actor whose process was legendary even during then. And it's actually the only film in which he actually has his make-up case make a cameo appearance by the very end. And it goes on the thing that everyone in every culture loves, which is the vampirism, the dark tales and folklore. So, when you say it, it just gets your imagination going. Whereas I think if you are watching it, it's probably you'll be looking over the projector to see if something even better is going to happen.The film had its mixed reactions when it originally came out. People liked it because it gave them that cheap thrill of being a very atmospherical, haunted house with the creepy figures of Chaney walking across those dusty hallways. But then the more important story is a murder mystery.It's not Dracula, but it has its own things going for it. I always kind of harken it back to the search for the Lochness Monster or Bigfoot. It has more power in your mind than it does in an aquarium or in a zoo. Hearing someone say that they think they saw something moving around in Lochness, but there's no photographic evidence, you just have the oral story, that is much more tangible in a way than actually seeing it in an aquarium where you can take it for granted. And it's the same with London After Midnight, and I think that's why a lot of hoaxster and pranksters tend to say that they have seen London After Midnight more than any other lost film.Jim: For a film that I would say the majority of the world does not have any frame of reference, and I'm using myself as the sort of blueprint for that, no frame of reference for this film. That image is iconic in a way that has been, I mean, it at first glance could be Jack the Ripper. I was talking to John before we started the podcast, once I locked in on that image, then I started to think, oh, the ghosts in Disney's Haunted Mansion, there's a couple of ghosts that have elements of that. I mean, it was so perfectly done, even though we don't, I bet you nine out ten people don't know the title London After Midnight, but I bet you seven outta ten people know this image.Daniel: Definitely, it has certainly made its mark on pop culture, again, I think because I think it's such a beautiful, simplistic design. Everything from the simplistically [garbled] to the bulging eyes and the very nice top hat as well, which is in itself today considered a very odd accessory for a grotesque, vampire character.But it's one of those things that has really carried over. It's influenced what the movies and artists. It was one of the influences for the Babadook creation for that particular monster. It was an influence on the Black Phone. It's just a perfect frame of reference for movie makers and sculptors and artists to keep taking from.John: Yep. It's, it'll live long beyond us. Daniel, one last question. I read somewhere or heard somewhere. You're next gonna tackle James Whale, is that correct? Daniel: James Whale is a subject, again, coming from, I happen to come from the exact same town that he was born and raised in, in Dudley, England. So, it's always been a subject close to home for me, which is quite convenient because I love his movies. So, I'm hoping to eventually, hopefully plan a documentary feature on him, based on a lot of family material in the surrounding areas that I was able to hunt down, and forgotten histories about him and just put it together in some form, hopefully in the future.John: That would be fantastic, and we'll have you back at that point.Jim: So, let's pretend for a minute that the audience is me, and they'd have absolutely no idea who James Whale is or what he's done. Just for a minute, let's pretend.John: Pretend that you don't know that?Jim: Yeah.Daniel: James Whale is the most known for his work for directing Frankenstein with Boris Karloff in 1931. But he also directed probably some of the most important horror films that have ever existed in the history of motion pictures. The Old Dark House, which can be cited with its very atmospherical, and black comedy tones, The Invisible Man with Claude Rains and Gloria Stewart in 1933. And, the most important one, which is probably the grand jewel in the whole of the Universal Monsters Empire, which is Bride of Frankenstein in 1935, which is the ultimate, example of everything that he had studied, everything that he'd learned with regards to cinema and comedy, life and death, and just making a very delicious cocktail of a movie in all of its black comedy, horrific, forms that we're still asking questions about today. One of his first films that he did was for Howard Hughes Hell's Angels, in which -- because he'd coming over from theater -- when again, films in America were taken off with the sound revolution. They all of a sudden needed British directors to translate English dialogue better than the actors could convey.So, James Whale was one of many to be taken over to America when he had a hit play called Journeys End, which became the most successful war play at that point. And he did his own film adaptation of Journeys End. He also did a really remarkable film called Showboat, which is another very iconic film.And again, someone with James Whale's horror credentials, you just think, how could someone who directed Frankenstein directed Showboat? But, clearly a very, very talented director who clearly could not be pigeonholed at the time as a strictly horror director, despite it is the horror films in which he is remembered for, understandably so, just because they contain his very individualistic wit and humor and his outlooks on life and politics. And being an openly gay director at the time, he really was a force unto himself. He was a very modern man even then.

East meets West on this month's chapter, where we open the show with some great industrial acts from Japan like Schaft, Mad Capsule Markets, and Schwarz Stein. Then we head west and spin some tracks from Poland's C.H.District, German artist Paul van Dyk, and the UK's London After Midnight, plus more! We hope you enjoy this global selection of fantastic music. Send your listener submissions/ suggestions to arcanemachinepodcast@gmail.com! The Arcane Machine is a monthly show with supplemental content on Facebook, Twitter, and Discord throughout each month. If you like what you hear, please visit the artists' pages linked below and buy some music! Social Media: The Belfry: A Home for Dark Culture: The Belfry is the home of excellent podcast Cemetery Confessions, plus interviews, art, and other podcasts rooted deeply in dark/ alternative lifestyles. Join our Facebook group for discussion and bonus content: https://www.facebook.com/groups/TheArcaneMachine/ Follow The Arcane Machine on Twitter: @arcane_machine Follow The Arcane Machine on Instagram: @the_arcane_machine The Tracklist:   1 –  “Gaga Life” by The Mad Capsule Markets from the album 010 (2001) (Discogs) 2 – “Succubus” by Schwarz Stein from the album New Vogue Children (2003) (Website) 3 – “THE HERO IN side” by Schaft from the album Switchblade (2016) (Discogs) 4 – “Garrobo” by Red Deviil from the album Vida Bandida (2024) (Bandcamp) 5 –  “Shrink” by C.H.District from the album Conclusion (2010) (Bandcamp) 6 – “Wir Sind Wir” by Paul van Dyk (ft. Peter Heppner) from the album Re-Reflections (2004) (Website) 7 – “Transformation Dreams” by The FMs from the album PINK + BLACK (2024) (Bandcamp) 8 – “Where Good Girls Go to Die” by London After Midnight (ft. Sean Brennan) from the album Psycho Magnet (1995) (Website)

We recall a story about Sawing a Lady in Two from Mike Caveney, and Eli digs deeper into the mystery surrounding the missing copy of “London After Midnight.”A Few Minutes With… Mike Caveney starts at 00:02:53Chapter Eight of “The Miser's Dream” starts at 00:11:47LINKSThe Eli Marks Mystery Series: http://www.elimarksmysteries.com/Get yourself a Free Eli Marks Short Story: https://dl.bookfunnel.com/jj1r1yaavjListen to an Eli Marks Audio Short Story: https://BookHip.com/LZBPPMDMike Caveney Website: https://www.magicwords.shop/Mike Caveney Full Interview: https://www.elimarksmysteries.com/eli-marks-podcast/tag/Mike+CaveneyA Few Minutes With … Mike Caveney: https://youtu.be/0aLq16UUPVoDante Sawing a Woman In Two: https://youtu.be/rHBTiFMe95AThe Greatest Night In Pop: https://www.netflix.com/tudum/articles/what-happens-in-greatest-night-in-popRichard Wiseman's On Your Mind Podcast: https://listentoonyourmind.com/aboutRichard Wiseman's Quirkology: https://www.youtube.com/@QuirkologyCheck out the Occasional Film Podcast: https://www.fastcheapfilm.com/the-podcast

London After Midnight : A Continuation I chat with returning guest Jack Bowman. We chat about London After Midnight's success since the audio drama he helped produce was released in 2023, the plans for a book based on it's production and more. please visit www.londonaftermidnight.co.uk for information about this great drama and ways to listen. Always great to chat with a guest. Why not join me? Reach out @daveyatalks --- Send in a voice message: https://podcasters.spotify.com/pod/show/davey-a/message

Writer Daniel Titley talks about his book on the classic (and now lost) film, “London After Midnight.” That movie's possible existence plays a big part in this season's book, “The Miser's Dream.”Daniel Titley Interview starts at 00:03:10Chapter Five of “The Miser's Dream” starts at 00:58:42LINKSThe Eli Marks Mystery Series: http://www.elimarksmysteries.com/Get yourself a Free Eli Marks Short Story: https://dl.bookfunnel.com/jj1r1yaavjListen to an Eli Marks Audio Short Story: https://BookHip.com/LZBPPMDLondon After Midnight book: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890London After Midnight (reconstruction): https://youtu.be/JJTuZb_A-H8London After Midnight on Facebook: http://tinyurl.com/dupst8h4Check out the Occasional Film Podcast: https://www.fastcheapfilm.com/the-podcast

We dive further in the third book in the Eli Marks mystery series, “The Miser's Dream … and then look back at some wise words from magician John Carney.A Few Minutes With… John Carney starts at 00:02:00Chapter Four of “The Miser's Dream” starts at 00:10:25LINKSThe Eli Marks Mystery Series: http://www.elimarksmysteries.com/Get yourself a Free Eli Marks Short Story: https://dl.bookfunnel.com/jj1r1yaavjListen to an Eli Marks Audio Short Story: https://BookHip.com/LZBPPMDJohn Carney website: https://carneymagic.com/London After Midnight book: https://www.amazon.com/London-After-Midnight-Lost-Film/dp/1399939890London After Midnight (reconstruction): https://youtu.be/JJTuZb_A-H8Check out the Occasional Film Podcast: https://www.fastcheapfilm.com/the-podcast

Edición Limitada - 25 de Diciembre del 2023. Programa Especial de Navidad. Selección, producción, realización y conducción: Francisco J. Brenes. Presentando música de Low, Stina Nordenstam, Over The Rhine, London After Midnight, Mark Kozelek, Belle and Sebastian, Tori Amos, Love Spirals Downwards, Cocteau Twins, Clinic, Aimee Mann, Sufjan Stevens, Richard Ashcroft, Marc Almond, Chilly Gonzalez con Jarvis Cocker & Leslie Feist, She & Him, Oasis, Death Cab for Cutie, The Raveonettes, Cranes, The Knife, Mogwai, Sufjan Stevens, Hurts, Fitz And The Tantrums, The Killers con Toni Halliday, Tricky con Paul Smith, Coil, Erasure, Ronnie Martin, Lola Dutronic, Francesca e Luigi, Vogon Poetry, Red Flag, Marsheaux, Pet Shop Boys, Sally Shapiro, Hyperbubble, Freezepop, Orbital, Aphex Twin y Tom Waits con Peter Murphy.

When police break into a podcast studio, they find it filled with empty beer cans, cigarette butts, and a lone survivor. Known as "El Pulmón Negro," he is taken to a hospital for research and observation. On Episode 595 of Trick or Treat Radio we continue with December Double Feature Cram Jam as we discuss the horror anthology Satanic Hispanics, and the South Korean body swap flick Devils! We also talk about lost films, 80s game shows, and international horror! So grab your fat dracula spray repellent, wield the Hammer of Zanzibar, and strap on for the world's most dangerous podcast!Stuff we talk about:  Jordan Peele, Robert Eggers, Nosferatu, what's good for horror fans, 40 hours without power, Marc Singer, Jan Michael Vincent, Airwolf, The Mechanic, Hollywood Squares, Krampusnacht 2 Naughty 2 Party Live Event, Zombie Grrlz, Remote Control, Adam Sandler, Denis Leary, Kari Wuehrer, The Adventures of Ford Fairlane, V66, Colin Quinn, Ken Ober, Stephen Scarlata, Jon Peters infatuation with spiders, Best Movies Never Made, London After Midnight, shot on video, Skinned Deep, Gabe Bartalos, Warwick Davis, Godzilla, Transformers: The Movie, Hounds of Baskerville, Epcot Center, license renewal, Napoleon Dynamite, Efren Ramirez, Greg Grunberg, George Wendt, Jon Favreau, Satanic Hispanics, Creepshow, Tales from the Crypt, Mike Mendez, Demian Rugna, Eduardo Sanchez, The Blair Witch Project, El Vampiro, Only Lovers Left Alive, Lon Chaney Jr, Fat Draculas, What We Do In The Shadows, Gigi Saul Guerrero, fucking up rituals, Alejandro Brugues, Traffic, Mystery Science Theater 3000, Jonah Ray, mythical objects to destroy demons, Saint of Killers, Guillermo del Toro, Kolchak, John Constantine, Ash vs. The Evil Dead, Devils, Kim Jae-Hoon, Freaky Friday, Face/Off, Oldboy, Police Academy II, I Saw the Devil, Birth/Rebirth, Attachment, Shudder, and indigenous earth magic.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

  Horror movie collectors live to find those rare movies that eluded us. These are the movies that are so obscure and bizarre that it becomes a quest to see them and pass them on to other fans. Join our guest, Roxanne Guarino (Cinema Insomnia with Mr. Lobo), author of the new zine The Craziest Movies You NeverSaw, as we discuss the growing lost media culture, legendary "Holy Grails" of horror and cult, and our own favorite cinematic lost causes. Follow Roxanne on Instagram: @basement_mind_meds Dare to go down the lost media rabbit hole of the Lost Media Wiki: https://lostmediawiki.com/Home I hope you enjoy the show! Movies, Books, and TV Shows Discussed: The Story of Vampires by Thomas G. Aylesworth (1977 Children's book) Big Bad Beetleborgs (TV Series, 1996-1998) Mad Monster Party? (1967) Short Films by Short People, “Attack of the Giant Vulture” (TV-Nickelodeon, 1995) Cuckoo Clocks of Hell (1973) aka Last House on Dead End Street (1977) Sesame Street Episode 847- with Margaret Hamilton (TV-1976) Sesame Street Short- “Cracks (aka Crack Master)” (TV-1975) Rock Odyssey (1987) Heidi's Song (1982) Mean Parents Suck/aka For Parents Only (1991) Plan 10 From Outer Space (1995) London After Midnight (1927) JoJo's Bizarre Adventure: Phantom Blood (Anime-2007) Freaks: Deleted Scenes (1932) Nighty-Night: Midnight Nightmares (1986) Happy Mother's Day, Love George/ aka Run, Stranger, Run (1973) Twice Upon a Time (1983)  

Introducing London After Midnight with part one of this two-part program. Five years before our story begins, wealthy Englishman Roger Balfour committed suicide at his country estate. But there are those in his family who harbor dark suspicions… especially in light of the new tenants… who you'll meet soon enough. Considered the Holy Grail of silent cinema, the last known copy of London After Midnight was destroyed in 1965. And now for the first time in decades, Pocket Universe Productions, AudioMarvels, and Monkey Basket Entertainment presents this lost classic as an experience for the ears, adapted from the original screenplay. And... whatever you do... don't give away the ending! Part of the MIDNIGHT MATINEES podcast; also available as an ad-free binaural digital download at www.londonaftermidnight.co.uk Written by Lance Roger Axt & Kenton Hall Based on London After Midnight by Waldermar Young & Tod Browning Produced by Lance Roger Axt, Jack Bowman & Kenton Hall Associate Producer: Liis Mikk Directed by Jack Bowman & Kenton Hall Original Music by Kenton Hall & Brett Richardson Sound Design by Rory O'Shea Recorded at The Soundhouse, London Studio Manager: Freddie Sledge Studio Engineering: Wilfredo Acosta Starring Art Malik as Inspector Burke Dan Starkey as Sir James Beth Eyre as Lucy Kenton Hall as Hibbs David K Barnes as Murphy David Bickerstaff as McInroy Jack Bowman as Sgt Browning Cliff Chapman as Colonel Yates Sarah Dorsett as Doris Karim Kronfli as Williams Abi McLoughlin as Miss Smithson LISTENER WARNING: The subject matter in this program may not be appropriate for all listeners. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kenton Hall is a man of many talents: songwriter, musician, actor and director. He's also a huge Elvis Costello fan. In this episode, Kenton tells me how he discovered Costello's music, what it means to him and how it has influenced his own songwriting. We chat about some of his favourite Elvis records, memorable gigs and how Steve Nieve came to record a track for Kenton's recent album Omniopath. Make sure you check out Kenton's brilliant audio drama, London After Midnight, which he has adapted from the Tod Browning movie and in which he stars alongside Art Malik and others.

This week we examine the story and legacy of the legendary lost silent horror London After Midnight, the first API horror Man Beast, the splatterific German Underground horror The Burning Moon and the Lorenzo Lamas 90s shark horror frenzy Dark Waters! Stay Scared! VISIT US: https://www.weekinhorror.com CONTACT US: weekinhorror@gmail.com FOLLOW US: https://open.spotify.com/show/0nGaMkV61ObeYSS6QySu1N?si=5b478dbcc3754350 https://www.facebook.com/weekinhorror https://www.twitter.com/weekinhorror https://www.instagram.com/week_in_horror/ https://www.youtube.com/weekinhorror SUPPORT US: https://www.paypal.com/paypalme/weekinhorror https://www.patreon.com/weekinhorror https://week-in-horror.creator-spring.com/ JOIN US: https://discord.gg/PDGDeWJz4E Joshua Olsen's Art Store https://www.badsamurai.store #londonaftermidnight #lonchaney #todbrowning #manbeast #jerrywarren #theburningmoon #germanhorror #darkwaters #lorenzolamas #horror #horrorpodcast #horrormovies --- Support this podcast: https://podcasters.spotify.com/pod/show/weekinhorror/support

Presenting the conclusion of "London After Midnight". Adapted by Lance Roger Axt and Kenton Hall Produced by Lance Roger Axt, Jack Bowman & Kenton Hall Directed by Jack Bowman and Kenton Hall Original Score by Kenton Hall and Brett Richardson Starring Art Malik and Dan Starkey. Featuring the voices of David K. Barnes, David Bickerstaff, Jack Bowman, Cliff Chapman, Sarah Dorsett, Beth Eyre, Kenton Hall, Karim Kronfli and Abi McLoughlin. With your host, Sally Walker-Taylor.

London has been the main character in many of your favourite horror movies but why does the capital make for such a good unpaid actor and why do directors love using the location to star in their films?Today on Macabre London, we uncover the The History Of Horror Movies in London(Featuring London After Midnight, Death Line, Creep, 28 Days Later, Shaun Of The Dead & Hammer Horror)Thank you to todays sponsor Magic Mind Check them out at https://www.magicmind.com/macabrelondon and use the code MACABRELONDON at checkout to get 50% off your subscription order or 20% off your one time purchase..------------------------Podcast: https://podfollow.com/1180202350Macabre London is a fortnightly podcast and YouTube show that delves into London's haunted and gruesome history alongside discovering Macabre mini Mysteries from all over the world!Be sure to check out my other podcast, Killers, Cults & Queens with Cheryl Hole https://podfollow.com/queens---------------------------SUPPORT ME————————ONE OFF DONATIONS: Paypal - paypal.me/macabrelondonKO-FI: ko-fi.com/macabrelondonPATREON: www.patreon.com/macabrelondonAMAZON WISHLIST - http://amzn.eu/dJxEf1V​​​​​​MERCH! - https://macabrelondon-shop.fourthwall.comPATREON - www.patreon.com/macabrelondon——————————-Thank you to our executive producer patrons - Amy, Christina, Christophe, Kate, Kevin, Lisa, Mary, Meg, Rose, Sally, Sam, Sarah, Teresa, Terri, Vee & Veronica.And to all of our wonderful £5 tier patrons...VictoriaZozolaLucy TalliClaireVerenaIngeJenniferKimAmyClaireRkrimblesAndreaKathrynJoDavidShannonCreepy PaperRachel Denise HelenSabrinaAndrewAnd thanks to all other patrons too!————————SOCIAL MEDIA---------------------------------------------Insta: @nikkimacabrelondonX: @macabrelondonTikTok: @macabrelondonFacebook: @macabrelondonEmail: macabrelondon@hotmail.comSources-------------28 Days later https://almostginger.com/28-days-later-film-locations/?unapproved=34395&moderation-hash=5b2672ade301f6cd5375025dcb267c2b#comment-34395https://www.imdb.com/title/tt0289043/trivia/?ref_=tt_ql_3https://en.wikipedia.org/wiki/Balfron_TowerLondon after midnighthttps://en.wikipedia.org/wiki/London_After_Midnight_(film)Creep - https://railwaymoviedatabase.com/creep/#:~:text=This%20horror%20film%20set%20on,and%201996%2Dbuilt%20tube%20stock.https://www.imdb.com/title/tt0381966/trivia/?ref_=tt_ql_3Death Line - https://www.imdb.com/title/tt0068458/ Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Five years before our story begins, wealthy Englishman Roger Balfour committed suicide at his country estate. But there are those in his family who harbor dark suspicions… especially in light of the new tenants… who you'll meet soon enough. Originally directed by Tod Browning and starring Lon Chaney, the last known print of "London After Midnight", long considered the holy grail of silent films, was destroyed in the MGM fire of 1965. Now the Bijou presents a special "screening" of this lost classic... and you're invited. Adapted by Lance Roger Axt and Kenton Hall Produced by Lance Roger Axt, Jack Bowman & Kenton Hall Directed by Jack Bowman and Kenton Hall Original Score by Kenton Hall and Brett Richardson Starring Art Malik and Dan Starkey. Featuring the voices of David K. Barnes, David Bickerstaff, Jack Bowman, Cliff Chapman, Sarah Dorsett, Beth Eyre, Kenton Hall, Karim Kronfli and Abi McLoughlin. With your host, Sally Walker-Taylor.

"London After Midnight" is an audio podcast drama directed by Jack Bowman. London After Midnight was a 1927 horror silent film that was destroyed in the 1965 fire at MGM studios. London After Midnight was released October 25, 2023. Rob and Jack discussed -Bringing to life the audio from the silent film -The cast including Art Malik who co-starred in notable movie "True Lies" 1994 and Little Mermaid 2023 -The process and production of this drama and the team involved. -Some influences that we see today from this silent film/audio drama -Some of Jack's influences and inspirations. -How digital Dolby Atmos Mix has been a game changer. Jack goes in depth on this. -And much more You can purchase London After Midnight at: https://londonaftermidnightaudio.bandcamp.com/album/london-after-midnight Written by Lance Roger Axt and Kenton Hall Directed by Jack Bowman and Kenton Hall Please give a follow and a like. You can HODGEPOD on Apple, Spotify, IHEART, Audacy and all podcast platforms Recorded 10/28/2023

"London After Midnight" is an audio podcast drama directed by Jack Bowman. London After Midnight was a 1927 horror silent film that was destroyed in the 1965 fire at MGM studios. London After Midnight was released October 25, 2023. Rob and Jack discussed -Bringing to life the audio from the silent film -The cast including Art Malik who co-starred in notable movie "True Lies" 1994 and Little Mermaid 2023 -The process and production of this drama and the team involved. -Some influences that we see today from this silent film/audio drama -Some of Jack's influences and inspirations. -How digital Dolby Atmos Mix has been a game changer. Jack goes in depth on this. -And much more You can purchase London After Midnight at: https://londonaftermidnightaudio.bandcamp.com/album/london-after-midnight Written by Lance Roger Axt and Kenton Hall Directed by Jack Bowman and Kenton Hall Please give a follow and a like. You can HODGEPOD on Apple, Spotify, IHEART, Audacy and all podcast platforms Recorded 10/28/2023

Edición Limitada - 28 de Octubre del 2023. Especial de Halloween Edición Embrujada 2023. Selección, producción y realización y conducción: Francisco J. Brenes (Beatmaster23). Presentando música de Depeche Mode, Duran Duran, Radiohead, Pulp, Arctic Monkeys, Franz Ferdinand, The Smiths, Morrissey, Bloc Party, Joy Division, Muse, Siouxie and the Banshees, Savages, New Order, The Cure, London After Midnight, Bauhaus, The Mission, The Cult, Christian Death, Clan of Xymox, The Sisters of Mercy, Pet Shop Boys, Ultravox, Death Cab for Cutie, Boy Harsher, the KVB, Red Flag, Kate Pierson, Chromatics, She Wants Revenge, Camouflage, UNKLE, St. Etienne, White Lies, Marsheaux, IKON, Luke Vibert, Killing Joke, X Marks the Pedwalk, Lords of Acid, Ministry y Jill Killed in a Mill.

Jack Bowman is a distinguished figure in the realm of scripted audio drama, known for his meticulous and immersive adaptations of classic screenplays. With a career spanning various notable projects, including Audible's "Murder on the Orient Express" and the forthcoming "Unsinkable," Bowman has established himself as a masterful storyteller in the auditory medium.Collaborating alongside accomplished producers like Lance Roger Axt and Kenton Hall, Bowman has demonstrated a keen ability to breathe new life into beloved cinematic works. His dedication to creating a Dolby Atmos aural experience sets him apart as a pioneer in the world of audio entertainment.In the reimagining of Tod Browning's silent horror gem, "London After Midnight," Jack Bowman plays a pivotal role in bringing this lost classic back to life. Through his creative prowess, Bowman contributes to the eerie atmosphere of the story, ensuring that listeners are transported into the chilling world of vampires, ghosts, and mystery that unfolds within the Balfour mansion.In addition to his contributions as a producer, Bowman lends his voice to the ensemble cast, further enriching the auditory landscape of "London After Midnight." This multifaceted involvement underscores his deep commitment to crafting a truly immersive experience for audiences.With a career marked by a passion for reviving forgotten cinematic treasures, Jack Bowman's work on "London After Midnight" stands as a testament to his dedication to preserving and reimagining classic tales for a new generation of listeners. His creative talents continue to leave an indelible mark on the world of scripted audio drama, promising audiences a captivating auditory journey with each project he undertakes. Hosted on Acast. See acast.com/privacy for more information.

A special Podcast today from Spoken Label (Artist Podcast) features Lance Roger Axt, Kenton Hall and Jack Bowman from the crew behind this full-cast audio drama. London After Midnight is a full-cast audio drama, resurrecting the lost silent horror classic, directed by Tod Browning and starring Lon Chaney. Originally released in 1927, the film was lost in the notorious 1965 MGM vault fire. Adapted here by Lance Roger Axt & Kenton Hall from the original screenplay by Waldemar Young & Tod Browning, it stars Art Malik in the role made iconic by Chaney, alongside a full cast. This extra sized Podcast goes into the history of the original London After Midnight (An legendary lost silent film), the production of this audio re-imagining and so much more. This shall be out as a Podcast shortly but it can be streamed/downloaded from https://londonaftermidnightaudio.bandcamp.com/album/london-after-midnight

Minisode #9 London After Midnight (1927) posted on 10-15-23 Question #9 Is it possible (or worth it) to try to experience London After Midnight via reproductions using still pictures and the original script, or is the 1935 remake, Mark Of The Vampire, a sufficient replacement?   

S4 Ep17 : London After Midnight with Jack Bowman Davey chats with director, producer, podcaster Jack Bowman about the forthcoming audio drama release of London After Midnight...based on the 1927 silent movie that starred Lon Chaney. This audio reimagining brings the talents of Art Malik, Dan Starkey, Beth Ayre, David K Barnes, Kenton Hall, Sarah Dorset, David Bickerstaff and more. Hope you head to www.londonaftermidnight.co.uk for details on how to buy a copy of this great drama. --- Send in a voice message: https://podcasters.spotify.com/pod/show/davey-a/message Support this podcast: https://podcasters.spotify.com/pod/show/davey-a/support

Toddzilla checks in with a rundown of movies from our October watchlist including ALL HALLOWS EVE, LOVE AND MONSTERS, KNUCKLEBALL, LIVING WITH CHUCKY and an extensive review of NATTY KNOCKS.  Plus news about John Carpenter's ANTHOLOGY II, THE LAST DRIVE-IN WITH JOE BOB BRIGGS, NECA's LONDON AFTER MIDNIGHT figure, TEXAS FRIGHTMARE WEEKEND, a reminder that this October contains a FRIDAY the 13th and more!  Creep it real with episode #86 of My Haunted Head - available on your favorite podcast app!

Ya sabéis que aquí no hay Boris sin Bela, ni viceversa. Así que os hablo de una peculiar historia detectivesca y whodunit con vampiros de por medio, en la que es considerada la versión sonora de "London After Midnight", la película perdida de Tod Browning.

On this episode, your intrepid host falls down a rabbit hole while doing research for one thing, and ends up discovering something "new" that must be investigated further, the 1987 action/comedy Oklahoma Smugglers. ----more---- 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.   You were probably expecting the third part of the Miramax Films in the 1980s series, and we will get to that one the next episode. But as often happens while I'm researching, I'll fall down a rabbit hole that piques my interest, and this time, it was not only discovering a film I had never heard of, but it fits within a larger discussion about disappearing media.   But before we get started, I need to send out a thank you to Matthew Martin, who contacted me via email after our previous episode. I had mentioned I couldn't find any American playdates for the Brian Trenchard-Smith movie The Quest around the time of its supposed release date of May 1st, 1986. Matthew sent me an ad from the local Spokane newspaper The Spokesman-Review dated July 18th, 1986, which shows the movie playing on two screens in Spokane, including a drive-in where it shared a screen with “co-hit” Young Sherlock Holmes. With that help, I was also able to find The Quest playing on five screens in the Seattle/Tacoma area and two in Spokane on July 11th, where it grossed a not very impressive $14,200. In its second week in the region, it would drop down to just three screens, and the gross would fall to just $2800, before disappearing at the end of that second week. Thank you to Matthew for that find, which gave me an idea.   On a lark, I tried searching for the movie again, this time using the director's last name and any day in 1986, and ended up finding 35 playdates for The Quest in Los Angeles, matinees only on Saturday, October 25th and Sunday, October 26th, one to three shows each day on just those two days.   Miramax did not report grosses.   And this is probably the most anyone has talked about The Quest and its lack of American box office. And with that, we're done with it. For now.   On this episode, we're going to talk about one of the many movies from the 1980s that has literally disappeared from the landscape. What I mean by that is that it was an independently made film that was given a Southern regional release in the South in 1987, has never been released on video since its sole VHS release in 1988, and isn't available on any currently widely used video platform, physical or streaming.   I'll try to talk about this movie, Oklahoma Smugglers, as much as I can in a moment, but this problem of disappearing movies has been a problem for nearly a century. I highlight this as there has been a number of announcements recently about streaming-only shows and movies being removed from their exclusive streaming platform, some just seven weeks after their premieres.   This is a problem.   Let me throw some statistics at you.   Film Foundation, a non-profit organization co-founded by Martin Scorsese in 1990 that is dedicated to film preservation and the exhibition of restored and classic cinema, has estimated that half of all the films ever made before 1950 no longer exist in any form, and that only 10% of the films produced before the dawn of the sound era of films are gone forever. The Deutsche Kinemathek, a major film archive founded in Berlin in 1963, also estimates that 80-90% of all silent films ever have been lost, a number that's a bit higher than the US Library of Congress's estimation that 75% of all silent film are gone. That includes more than 300 of Georges Méliès' 500 movies, a 1926 film, The Mountain Eagle, that was the second film directed by Alfred Hitchcock, and London After Midnight, considered by many film historians to be “the holy grail” of lost films. A number of films from directors like Michael Curtiz, Allan Dwan, and Leo McCarey are gone. And The Betrayal, the final film from pioneering Black filmmaker Oscar Micheaux, is no longer with us.    There are a number of reasons why many of these early movies are gone. Until the early 1950s, movies were often shot and printed on nitrate film, a highly flammable substance that can continue to burn even if completely submersed in water. During the earlier years of Hollywood, there were a number of fires on studio lots and in film vaults were original negatives of films were stored. Sometimes, studios would purposely incinerate old prints of films to salvage the silver particles within the nitrate film. Occasionally, a studio would destroy an older film when they remade that film with a new cast and director. And sometimes films, like Orson Welles' original cut of The Magnificent Ambersons, would be dumped into the ocean off the Southern California coast, when studios no longer wanted to pay to store these elements.   Except Oklahoma Smugglers does not fit into any of those scenarios. It's less than forty years old, in color, with a synchronized soundtrack. It's crime was being a small budgeted independently distributed movie from an independent production company that was only released in a small section of the United States, and never got any traction outside of that region.   Not that this alone is why it disappeared.   You may recall hearing about David Zaslav, the head of the mega entertainment conglomerate Warner Brothers Discovery, cancelling the release of two completed films, a Batgirl movie that would have featured Michael Keaton's return as Batman a full year before The Flash, and a sequel to a fairly successful Scooby Doo animated movie. Warner Brothers had spent more than $200m between the two films. They were shot, edited and scored, and ready for release. Then Zaslav decided these were of the quality he expected for Warner Brothers movies, and wrote them off for the tax break. Unless someone at Warners somewhere down the line decides to pay back the tax incentive to the Fed, these two movies will never legally be allowed to be shown, effectively making them lost films.   Again, there are many ways for a film to become lost.   In our case, it seems that Oklahoma Smugglers is an unfortunate victim of being the one and only film to be produced by Cambridge Entertainment Corporation, based in Needham MA. The company was founded on September 10th, 1986 and went into involuntary dissolution on December 31st, 1990, so it's very likely that the company went bankrupt and no company was interested in picking up the assets of a small independent production company with only one tangible asset, this movie.   So here is what I could find about Oklahoma Smugglers.   The film was produced and directed by Ota Richter, whose only previous film work was writing, producing a directing a horror comedy called Skullduggery in 1982. The film has its fans, but they are few and far between. Three years later, in 1985, Richter would work with a first time screenwriter named Sven Simon to come up with the story for Oklahoma Smugglers. When the script was completed, Richter would raise the money he would need to shoot the movie in Toronto with a no-name cast lead by George Buzz and John Novak, and a four week production schedule between February 24th and March 21st, 1986. One can presume the film was locked before September 10th, 1986, when Cambridge Entertainment Corporation was founded, with Ota Rickter as its treasurer. The other two members of the Cambridge board, company President Neil T. Evans, and company Secretary Robert G. Parks, appear to have not had any involvement with the making of the movie, and according to the Open Corporates database, the men had never worked together before and never worked together again after this company.   But what Neil Evans did have, amongst the six companies he was operating in and around the Boston area at the time, was a independent distribution company called Sharp Features, which he had founded in April of 1981, and had already distributed five other movies, including the Dick Shawn comedy Good-bye Cruel World, which apparently only played in Nashville TN in September 1982, and a 1985 documentary about The Beach Boys.   So after a year of shopping the film around the major studios and bigger independent distributors, the Cambridge team decided to just release it themselves through Sharp Features. They would place an ad in the September 16th, 1987 issue of Variety, announcing the film, quote unquote, opens the Southeast on September 18th, just two days later.   Now, you'll notice I was able to find a lot of information about the people behind the film. About the companies they created or had already created to push the film out into the market. The dates it filmed, and where it filmed. I have a lot of sources both online and in my office with more data about almost every film ever released. But what I can't tell you is if the film actually did open on September 18th, 1987. Or how many theatres it played in. Or how much it grossed that first weekend. Or if any theatres retained it for a second week. Or any reviews of the movie from any contemporary newspaper or magazine. Outside of the same one single sentence synopsis of the movie, I had to turn to a Finnish VHS release of the film for a more detailed synopsis, which roughly translates back into English as such:   “Former Marines Hugo and Skip are living the best days of their lives. Hugo is a real country boy and Skip again from a "better family." Together they are a perfect pair: where Skip throws, Hugo hurls his fists. Mr. Milk, who offers security services, takes them on. Mr. Milk's biggest dream is to get hold of his nemesis "Oklahoma Smuggler" Taip's most cherished asset - a lucrative casino. Mr. Taip is not only a casino owner, but he handles everything possible, from arms smuggling to drugs. The fight for the ownership of the Oklahoma Smuggler casino is a humorous mix of fistfights, intrigues and dynamite where Hugo and Skip get the hero's part. What happens to the casino is another matter.”   Okay, that sounds like absolute crap.   But here's the thing.   I actually enjoy checking out low budget movies that might not be very good but are at least trying to be something.   I would be very interested in seeing a movie like Oklahoma Smugglers. But I can't the darn thing anywhere. It's not posted to YouTube or Vimeo or any video sharing service I know of. It's not on The Internet Archive. It's not on any of the Russian video sites that I occasionally find otherwise hard to find movies.   There's no entry for the film on Wikipedia or on Rotten Tomatoes. There is an IMDb page for the film, with a grand total of one user rating and one user review, both from the same person. There's also only one rating and mini-review of it on Letterboxd, also from the same person. There is a page for the film on the Plex website, but no one has the actual film.   This film has, for all intents and purposes, vanished.   Is that a good thing?   Absolutely not.   While it's highly likely Oklahoma Smugglers is not a very good movie, there's also a chance it might actually be stupid, goofy fun, and even if its a low quality dupe off a VHS tape, it should be available for viewing. There should be some kind of movie repository that has every movie still around that is in the public domain be available for viewing. Or if the owners of a movie with a still enforceable copyright have basically abandoned said copyright by not making the film available for consumption after a certain amount of time or for a certain amount of time, it also become available. This would not only help films like Oklahoma Smugglers be discovered, but it would also give film lovers the chance to see many movies they've heard about but have never had the opportunity to see. Even the original theatrical version of the first three Star Wars movies are no longer available commercially. Outside of a transfer of the early 1990s laserdisc to DVD in 2004, no one has been able to see the original versions in nearly twenty years. The closest one can get now are fan created “Despecialized” editions on the internet.   Film fans tend to think of film as a forever medium, but it's becoming ever increasingly clear that it far from that. And we're not just talking about American movies either. When I said it is estimated that half the films ever made are considered lost, that includes movies from all corners of the globe, across several generations. From Angola and Australia to the former Yugoslavia and Zambia. Gone forever.   But every once in a while, a forgotten film can come back to life. Case in point, The Exiles, a 1958 film written, produced and directed by Kent Mackenzie, about a group of Native Americans who have left their reservation in search of a new life in Los Angeles' Bunker Hill neighborhood. After premiering at the 1961 Venice Film Festival, the film was never picked up for theatrical distribution, and for many years, the only way to see it was the occasional screening of the film as some college film society screening of the one 16mm print of the film that was still around. Cinephiles were aware of the film, but it wouldn't be until the exceptional 2004 video essay Los Angeles Plays Itself by Thom Anderson that many, including myself, even learned of the film's existence. It would take another four years of legal maneuvering for Milestone Films to finally give The Exiles a proper theatrical and home video release. The following year, in 2009, with new public exposure to the film, the Library of Congress included The Exiles on their National Film Registry, for being of culturally, historically or aesthetically" significance. In the case of The Exiles, much of Bunker Hill was torn down shortly after the making of the film, so in many ways, The Exiles is a living visual history of an area of Los Angeles that no longer exists in that way. It's a good film regardless, but as a native Angelino, I find The Exiles to be fascinating for all these places that disappeared in just a few short years before my own birth.   So, that's the episode for this week.   Thank you for joining us. We'll talk again next week, when we continue our miniseries on Miramax Films in the 1980s.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Oklahoma Smugglers.   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, your intrepid host falls down a rabbit hole while doing research for one thing, and ends up discovering something "new" that must be investigated further, the 1987 action/comedy Oklahoma Smugglers. ----more---- 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.   You were probably expecting the third part of the Miramax Films in the 1980s series, and we will get to that one the next episode. But as often happens while I'm researching, I'll fall down a rabbit hole that piques my interest, and this time, it was not only discovering a film I had never heard of, but it fits within a larger discussion about disappearing media.   But before we get started, I need to send out a thank you to Matthew Martin, who contacted me via email after our previous episode. I had mentioned I couldn't find any American playdates for the Brian Trenchard-Smith movie The Quest around the time of its supposed release date of May 1st, 1986. Matthew sent me an ad from the local Spokane newspaper The Spokesman-Review dated July 18th, 1986, which shows the movie playing on two screens in Spokane, including a drive-in where it shared a screen with “co-hit” Young Sherlock Holmes. With that help, I was also able to find The Quest playing on five screens in the Seattle/Tacoma area and two in Spokane on July 11th, where it grossed a not very impressive $14,200. In its second week in the region, it would drop down to just three screens, and the gross would fall to just $2800, before disappearing at the end of that second week. Thank you to Matthew for that find, which gave me an idea.   On a lark, I tried searching for the movie again, this time using the director's last name and any day in 1986, and ended up finding 35 playdates for The Quest in Los Angeles, matinees only on Saturday, October 25th and Sunday, October 26th, one to three shows each day on just those two days.   Miramax did not report grosses.   And this is probably the most anyone has talked about The Quest and its lack of American box office. And with that, we're done with it. For now.   On this episode, we're going to talk about one of the many movies from the 1980s that has literally disappeared from the landscape. What I mean by that is that it was an independently made film that was given a Southern regional release in the South in 1987, has never been released on video since its sole VHS release in 1988, and isn't available on any currently widely used video platform, physical or streaming.   I'll try to talk about this movie, Oklahoma Smugglers, as much as I can in a moment, but this problem of disappearing movies has been a problem for nearly a century. I highlight this as there has been a number of announcements recently about streaming-only shows and movies being removed from their exclusive streaming platform, some just seven weeks after their premieres.   This is a problem.   Let me throw some statistics at you.   Film Foundation, a non-profit organization co-founded by Martin Scorsese in 1990 that is dedicated to film preservation and the exhibition of restored and classic cinema, has estimated that half of all the films ever made before 1950 no longer exist in any form, and that only 10% of the films produced before the dawn of the sound era of films are gone forever. The Deutsche Kinemathek, a major film archive founded in Berlin in 1963, also estimates that 80-90% of all silent films ever have been lost, a number that's a bit higher than the US Library of Congress's estimation that 75% of all silent film are gone. That includes more than 300 of Georges Méliès' 500 movies, a 1926 film, The Mountain Eagle, that was the second film directed by Alfred Hitchcock, and London After Midnight, considered by many film historians to be “the holy grail” of lost films. A number of films from directors like Michael Curtiz, Allan Dwan, and Leo McCarey are gone. And The Betrayal, the final film from pioneering Black filmmaker Oscar Micheaux, is no longer with us.    There are a number of reasons why many of these early movies are gone. Until the early 1950s, movies were often shot and printed on nitrate film, a highly flammable substance that can continue to burn even if completely submersed in water. During the earlier years of Hollywood, there were a number of fires on studio lots and in film vaults were original negatives of films were stored. Sometimes, studios would purposely incinerate old prints of films to salvage the silver particles within the nitrate film. Occasionally, a studio would destroy an older film when they remade that film with a new cast and director. And sometimes films, like Orson Welles' original cut of The Magnificent Ambersons, would be dumped into the ocean off the Southern California coast, when studios no longer wanted to pay to store these elements.   Except Oklahoma Smugglers does not fit into any of those scenarios. It's less than forty years old, in color, with a synchronized soundtrack. It's crime was being a small budgeted independently distributed movie from an independent production company that was only released in a small section of the United States, and never got any traction outside of that region.   Not that this alone is why it disappeared.   You may recall hearing about David Zaslav, the head of the mega entertainment conglomerate Warner Brothers Discovery, cancelling the release of two completed films, a Batgirl movie that would have featured Michael Keaton's return as Batman a full year before The Flash, and a sequel to a fairly successful Scooby Doo animated movie. Warner Brothers had spent more than $200m between the two films. They were shot, edited and scored, and ready for release. Then Zaslav decided these were of the quality he expected for Warner Brothers movies, and wrote them off for the tax break. Unless someone at Warners somewhere down the line decides to pay back the tax incentive to the Fed, these two movies will never legally be allowed to be shown, effectively making them lost films.   Again, there are many ways for a film to become lost.   In our case, it seems that Oklahoma Smugglers is an unfortunate victim of being the one and only film to be produced by Cambridge Entertainment Corporation, based in Needham MA. The company was founded on September 10th, 1986 and went into involuntary dissolution on December 31st, 1990, so it's very likely that the company went bankrupt and no company was interested in picking up the assets of a small independent production company with only one tangible asset, this movie.   So here is what I could find about Oklahoma Smugglers.   The film was produced and directed by Ota Richter, whose only previous film work was writing, producing a directing a horror comedy called Skullduggery in 1982. The film has its fans, but they are few and far between. Three years later, in 1985, Richter would work with a first time screenwriter named Sven Simon to come up with the story for Oklahoma Smugglers. When the script was completed, Richter would raise the money he would need to shoot the movie in Toronto with a no-name cast lead by George Buzz and John Novak, and a four week production schedule between February 24th and March 21st, 1986. One can presume the film was locked before September 10th, 1986, when Cambridge Entertainment Corporation was founded, with Ota Rickter as its treasurer. The other two members of the Cambridge board, company President Neil T. Evans, and company Secretary Robert G. Parks, appear to have not had any involvement with the making of the movie, and according to the Open Corporates database, the men had never worked together before and never worked together again after this company.   But what Neil Evans did have, amongst the six companies he was operating in and around the Boston area at the time, was a independent distribution company called Sharp Features, which he had founded in April of 1981, and had already distributed five other movies, including the Dick Shawn comedy Good-bye Cruel World, which apparently only played in Nashville TN in September 1982, and a 1985 documentary about The Beach Boys.   So after a year of shopping the film around the major studios and bigger independent distributors, the Cambridge team decided to just release it themselves through Sharp Features. They would place an ad in the September 16th, 1987 issue of Variety, announcing the film, quote unquote, opens the Southeast on September 18th, just two days later.   Now, you'll notice I was able to find a lot of information about the people behind the film. About the companies they created or had already created to push the film out into the market. The dates it filmed, and where it filmed. I have a lot of sources both online and in my office with more data about almost every film ever released. But what I can't tell you is if the film actually did open on September 18th, 1987. Or how many theatres it played in. Or how much it grossed that first weekend. Or if any theatres retained it for a second week. Or any reviews of the movie from any contemporary newspaper or magazine. Outside of the same one single sentence synopsis of the movie, I had to turn to a Finnish VHS release of the film for a more detailed synopsis, which roughly translates back into English as such:   “Former Marines Hugo and Skip are living the best days of their lives. Hugo is a real country boy and Skip again from a "better family." Together they are a perfect pair: where Skip throws, Hugo hurls his fists. Mr. Milk, who offers security services, takes them on. Mr. Milk's biggest dream is to get hold of his nemesis "Oklahoma Smuggler" Taip's most cherished asset - a lucrative casino. Mr. Taip is not only a casino owner, but he handles everything possible, from arms smuggling to drugs. The fight for the ownership of the Oklahoma Smuggler casino is a humorous mix of fistfights, intrigues and dynamite where Hugo and Skip get the hero's part. What happens to the casino is another matter.”   Okay, that sounds like absolute crap.   But here's the thing.   I actually enjoy checking out low budget movies that might not be very good but are at least trying to be something.   I would be very interested in seeing a movie like Oklahoma Smugglers. But I can't the darn thing anywhere. It's not posted to YouTube or Vimeo or any video sharing service I know of. It's not on The Internet Archive. It's not on any of the Russian video sites that I occasionally find otherwise hard to find movies.   There's no entry for the film on Wikipedia or on Rotten Tomatoes. There is an IMDb page for the film, with a grand total of one user rating and one user review, both from the same person. There's also only one rating and mini-review of it on Letterboxd, also from the same person. There is a page for the film on the Plex website, but no one has the actual film.   This film has, for all intents and purposes, vanished.   Is that a good thing?   Absolutely not.   While it's highly likely Oklahoma Smugglers is not a very good movie, there's also a chance it might actually be stupid, goofy fun, and even if its a low quality dupe off a VHS tape, it should be available for viewing. There should be some kind of movie repository that has every movie still around that is in the public domain be available for viewing. Or if the owners of a movie with a still enforceable copyright have basically abandoned said copyright by not making the film available for consumption after a certain amount of time or for a certain amount of time, it also become available. This would not only help films like Oklahoma Smugglers be discovered, but it would also give film lovers the chance to see many movies they've heard about but have never had the opportunity to see. Even the original theatrical version of the first three Star Wars movies are no longer available commercially. Outside of a transfer of the early 1990s laserdisc to DVD in 2004, no one has been able to see the original versions in nearly twenty years. The closest one can get now are fan created “Despecialized” editions on the internet.   Film fans tend to think of film as a forever medium, but it's becoming ever increasingly clear that it far from that. And we're not just talking about American movies either. When I said it is estimated that half the films ever made are considered lost, that includes movies from all corners of the globe, across several generations. From Angola and Australia to the former Yugoslavia and Zambia. Gone forever.   But every once in a while, a forgotten film can come back to life. Case in point, The Exiles, a 1958 film written, produced and directed by Kent Mackenzie, about a group of Native Americans who have left their reservation in search of a new life in Los Angeles' Bunker Hill neighborhood. After premiering at the 1961 Venice Film Festival, the film was never picked up for theatrical distribution, and for many years, the only way to see it was the occasional screening of the film as some college film society screening of the one 16mm print of the film that was still around. Cinephiles were aware of the film, but it wouldn't be until the exceptional 2004 video essay Los Angeles Plays Itself by Thom Anderson that many, including myself, even learned of the film's existence. It would take another four years of legal maneuvering for Milestone Films to finally give The Exiles a proper theatrical and home video release. The following year, in 2009, with new public exposure to the film, the Library of Congress included The Exiles on their National Film Registry, for being of culturally, historically or aesthetically" significance. In the case of The Exiles, much of Bunker Hill was torn down shortly after the making of the film, so in many ways, The Exiles is a living visual history of an area of Los Angeles that no longer exists in that way. It's a good film regardless, but as a native Angelino, I find The Exiles to be fascinating for all these places that disappeared in just a few short years before my own birth.   So, that's the episode for this week.   Thank you for joining us. We'll talk again next week, when we continue our miniseries on Miramax Films in the 1980s.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Oklahoma Smugglers.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Prior to the events of their upcoming milestone, a group of mild-mannered but anxiety-ridden men confront their darkest fears as they embark on an epic auditory odyssey back home. On Episode 573 of Trick or Treat Radio, therapy is in session as we discuss Beau is Afraid, the latest tour de force from director Ari Aster! We also talk about complex emotional trauma, the long-reaching effects of the current WGA/SAG strike, head trauma. All the head trauma. So grab your meds of choice, try not to lose your head, and strap on for the world's most dangerous podcast!Stuff we talk about: German Expressionist Horror, NECA, Nosferatu, SDCC, London After Midnight, Mama Juana, the butt bottle, drinking cigarettes out of beer cans, Caddyshack, getting chokeslammed on the kitchen floor, Riddler mask, Santa at Petsmart, The Human Torch, SAG-AFTRA & WGA Strike, Ron Perlman, John Cusack, Napster, Steel Panther, merch sales for bands, the difficulty making money as a band these days, 1982: Greatest Geek Year Ever!, Stephen Scarlata, Jaws, Sharksploitation, Shudder, Greatest Movie Never Made, Josh Miller, Jodorowsky's Dune, Sea Thomas Howell, doing lines, Table Read, Weird Science, Anthony Michael Hall, John Hughes, Sitcoms from the 70s 80s and 90s, Zombie Grrlz, More Deadly, getting put over by other podcasts, Six Degrees of Sitcoms, Bill Hader, Hereditary, Midsommar, Ari Aster, Beau is Afraid, Robert Eggers, David Lynch, Joaquin Phoenix, Patti LuPone, Father's Day, Astron-6, Yellowstone, dealing with anxiety, Gotham City, Chekhov's Spider, MZ's balls as stand-ins, Birthday Boy Stab Man, complex emotional trauma, mommy issues, Affluenza, Dingo Dane, head trauma, Parker Posey, Richard Kind, Mother, fucked up Forrest Gump, Sally Field, The Blackening, Dawn of the Dead, Day of the Dead, The Thing, Leviathan, Jason Takes Manhattan, Deep Star Six, Night of the Demons, Kelly Jo Minter, Scream 2, bed on the bar, and sending the wrong message since ‘76.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Dracula (1931), Horror of Dracula (1958), & Dracula (1979) ALL MOVIES SPOILED In this film block, Bruce Scivally takes Jeremy and Brian deep into the catacombs of castle Dracula to explore the three L's of Dracula: Lugosi, Lee and Langella Follow Bruce here: Website Facebook Twitter Further reading: Dracula FAQ by Bruce Scivally Dracula FAQ (ebook) by Bruce Scivally In Search of Dracula by Radu Florescu & Raymond T. McNally Where to watch: Be Kind Video (Burbank) Vidéothèque (South Pasadena) Cinefile (Santa Monica) Dracula 1931 (4K Blu-Ray) Dracula 1958 (Blu-Ray) Dracula 1979 (Blu-Ray) Other films referenced: White Zombie Son of Frankenstein Nosferatu (1922) Nosferatu the Vampyre Bram Stoker's Dracula Dracula: Dead and Loving It Frankenstein (1931) London After Midnight (1927) M (1931) The Unknown (not The Terror) (1927) King of Jazz The Jazz Singer Bud Abbott and Lou Costello Meet Frankenstein The Curse of Frankenstein Dracula Has Risen from the Grave Taste the Blood of Dracula Scars of Dracula Gremlins 2: The New Batch The Hound of the Baskervilles (1959) The Private Life of Sherlock Holmes The Brides of Dracula Dracula: Prince of Darkness The Mummy (1959) What We Do in the Shadows Saturday Night Fever The Mark of Zorro (1974) Diary of a Mad Housewife The Amityville Horror (1979) Star Wars The Mummy (1932) Halloween (1978) Invasion of the Body Snatchers (1978) Love at First Bite

When a group of psycho podcasters go on a murderous rampage after surviving a botched live show the previous week, only one Arkham occupant can calm their violent tendencies and restore order to the show. On Episode 563 of Trick or Treat Radio we are joined by Arkham Josh to discuss the films The Third Saturday in October Part V and The Third Saturday in October Part I! We also discuss our favorite Twilight Zone episodes, we talk about the different eras of slashers, and we discuss lost films! So grab an iconic slasher mask, take comfort in the words of the poet laureate Pootie Tang, and strap on for the world's most dangerous podcast!Stuff we talk about: National Twilight Zone day, Arkham Josh, Eddie Torres, Film Festivals, Portland ME, beating kids at foosball, Time Enough At Last, Burgess Meredith, John Lithgow, Third Rock From the Sun, Richard Kiel, Star Trek, Fats & Corky, break down the walls of Jericho, Jelly's, Kansas Bowling, Parker Love Bowling, Friday the 13th Part V, Howling V, The Third Saturday in October Part V, The Third Saturday in October Part I, Freddy Krueger, Nightmare on Elm Street, Franklin Jr., foot jobs, small town Alabama, college football, Happy Birthday To Me, Halloween, 70s grindhouse, wood paneling, Texas Chainsaw Massacre, Jay Burleson, Phantasm, Scream, 90s slasher films, Child's Play, New Nightmare, Candyman, Popcorn, Maniac Cop 2, Wes Craven, Blood and Black Lace, Mario Bava, A Dark Song, From Black, Darth Maul, the death of metal, the height of the slasher, lost film, Heavy Metal, Blade Runner, London After Midnight, The Hills Run Red, Poltergeist, Unmasked Part 25, Saturday the 14th, Psychos in Love, Sleepaway Camp 2, KISS Meets the Phantom of the Park, Steel Panther, Lew Temple, the look of a killer's mask, William Shatner, costume in a box, Ben Cooper, Evil Dead Rise, Lee Cronin, Misfits of Horror, Tennessee Hate Week, words of comfort from Pootie Tang, poet laureates, The Last Thursday in November, We Arrived Together, and Terror at 37 Feet.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

April is well upon us and we here at Cinema Degeneration thought it was time for another Appreciation Month topic!  We bring to you a celebration of the life and career of the late great filmmaker Mr. Albert Pyun.  Pyun was a maverick director with over 50 directing credits to his resume before he passed away unfortunately in late 2022. Often operating well outside the studio system Pyun delivered films the only way he knew how...his way.  We are continuing the adventures and our 4th episode with the one that started it all and Pyun's feature film directorial debut with the 1982 swords and sandals swashbuckling classic "THE SWORD AND THE SORCEROR", starring Lee Horsley, Richard Moll, Richard Lynch, and more.  This is the epic story of mercenary Talon with his trusty three-bladed sword and his quest to reclaim his kingdom from an ancient wizard and an evil emperor.  Join 'Without Warning' hosts Korey Dawson and Cameron Scott as they discuss this epic first chapter of Pyun's epic film history. Not to disappoint but there are plenty of 'Without Warning' style rants including but not limited to the Doctor Strange sequel, Conan the Barbarian, Exorcist III, the video store rental days and even...LONDON AFTER MIDNIGHT???  Join us for a month long celebration of the expansive Pyuniverse!   "That's a small threat. That's a very small threat."

En "efemérides" recordamos a la novela "Casino Royale" de Ian Fleming y a sus versiones cinematográficas. El mito de "London After Midnight" de Tod Browning, en "homenajes" la figura de John Candy y en "películas de culto" el único spaghetti western dirigido por una mujer: "Il mio corpo per un poker" de Lina Wertmüller.

In this very special Old Soul episode we discuss the amazing worlds of Sci-Fi and Horror with Dr. Roger Solberg! Dr. Solberg is a Professor Emeritus of English at Pennsylvania Western University-Edinboro. Before retiring in June 2022 he taught at Edinboro since 1989. In addition to teaching Literature and Film courses, he is also a three-time Jeopardy! champion (aka he knows A LOT!). Dr. Solberg walks us through the earliest creations of Horror and Sci-Fi novels/novellas and the transition to adapting these works into early films. We overview some of his favorite features and how the genres have evolved throughout the years. We are so grateful to learn more from him on the highlights (and lowlights) of some of Hollywood's most creative, inventive films!Please Comment, Rate, and Share our episodes and tell us what you like and what you want to hear more of!—Be sure to check us out onOur website: https://the-old-soul-movie-podcast.simplecast.com/FacebookTwitter: @oldsoulpodInstagram: @oldsoulmoviepodcast MoviesFrankenstein (1910) – Thomas EdisonLife without Soul (1915)Frankenstein (1931)– Boris Karloff Nosferatu (1922)Dracula (1931) – Bela Lugosi The Phantom of the Opera (1925) – Lon ChaneyIsland of Lost Souls (1932) Mystery of the Wax Museum (1933)Doctor X (1932)London After Midnight (1927)The Mummy (1932) – Universal(Westworld Series (2016-) / Jurassic Park (1993))Bride of Frankenstein (1935)Young Frankenstein (1974)This Island Earth (1955)The Incredible Shrinking Man (1957)The Mole People (1956)The Deadly Mantis (1957)The Quatermass Xperiment (1955) / aka The Creeping UnknownQuatermass 2 (1957) / aka Enemy from SpaceThe Curse of Frankenstein (1957) - HammerHorror of Dracula (1958) - HammerThe Curse of the Werewolf (1961) - HammerThe Mummy (1959) - HammerThe Phantom of the Opera (1962) - Hammer The Brides of Dracula (1960) - HammerThe Texas Chainsaw Massacre (1974)Psycho (1960)Night of the Living Dead (1968)2001: A Space Odyssey (1968)Bram Stoker's Dracula (1992) – Frances Ford Coppola Dracula (1979) - Frank LangellaMary Shelley's Frankenstein (1994) – Kenneth Branagh / Robert De Niro(Henry V (1989) - Kenneth Branagh / Hamlet (1996) – Kenneth Branagh)Dr. Jekyll and Mr. Hyde (1931) – Fredric MarchThe Hunchback of Notre Dame (1939)Island of Lost Souls (1932) – Charles Laughton [Note – Yes! Wally Westmore was involved with makeup!]The Island of Dr. Moreau (1977) – Burt LancasterHardware (1990) (The Manchurian Candidate/The Birdman of Alcatraz/The Train)The Time Machine (1960)(Back to the Future (1985))The War of the Worlds (1953)The Thing from Another World (1951)The Time Machine (2002)War of the Worlds (2005)2005 – H.G Wells' War of the Worlds / Pendragon Pictures The Great Martian War – YouTube 2005 – H.G. Wells' War of the Worlds or The Worlds in War or Invasion/ Asylum Pictures Carnival of Souls (1962)Spider Baby (1964)Bubba Ho-Tep (2002) BooksFrankenstein – Mary ShelleyDracula – Bram StokerStrange Case of Dr Jekyll and Mr Hyde – Robert Louis StevensonThe Turn of the Screw – Henry JamesThe Time Machine – H. G. WellsThe Island of Doctor Moreau  – H. G. WellsThe War of the Worlds  – H. G. Wells 

Sunday Coffee with London After Midnight 2-05-2023Sunday Coffee with Leerecs' Friends - Sundays at 4pm EST live online Radio

Missing Midnight w/ Joe, Eddie, Chuck, & Cheri #ChuckCaputoMagic® #Houseoftheunusual.com® Welcome to the House of the Unusual Podcast where magic and mystery meet classic pop-culture. Join Joe, Eddie, Chuck, & Cheri as they discuss the lost film London After Midnight (1927) starring the famous Lon Chaney. It seems every year more and more lost films, shows, and radio programs are being discover. We also discuss a few more that have been found and will hopefully be available soon. ***Also, there are only 2 (of 8) boxes of Chuck Caputo's handmade magic set available at: https://www.etsy.com/shop/HouseOfTheUnusual?ref=shop_sugg For more information and to connect with others in the community visit www.houseoftheunusual.com. You can also find us on Instagram under “houseunusual”. Like watching videos too? Then head on over to YouTube and subscribe to “Houseoftheunusual Eddie Guevara” where you can get a first-hand look at some cool collectables and some newer novelties. https://www.stoopidcomicsmagazine.com/ https://www.sea-monkeys.com/ https://www.1878press.com/ https://www.mymoviemonsters.com/ Please like the video and hit that subscribe button if you will. And a huge THANK YOU! From all of us at THE HOUSE OF THE UNUSUAL. LINKS: WEBSITE: https://www.houseoftheunusual.com/ INSTAGRAM: https://www.instagram.com/eddieguevara64/ eBay: https://www.ebay.com/str/houseoftheunusual Etsy: https://www.etsy.com/shop/HouseOfTheUnusual?ref=seller-platform-mcnav TWITTER: https://twitter.com/HouseofUnusual FACEBOOK: https://www.facebook.com/Houseoftheunusualcom/ #Houseoftheunusual.com® #Hynotic Coin #EddieGuevara #unboxingvideos #ChuckCaputoMagic® #DrSab P.S. Looking for some relief from the world's problems, please check out this link: https://www.youtube.com/channel/UCdh2ny6W_6HzOzJgtn4yHDw --- Send in a voice message: https://anchor.fm/houseoftheunusual/message Support this podcast: https://anchor.fm/houseoftheunusual/support

In this episode I spoke with Daniel Titley's regarding his latest book "London After Midnight The Lost Film". For decades, the mystique of Lon Chaney's 1927 mystery-thriller, London After Midnight, has pondered the minds of horror buffs, silent film enthusiasts and film collectors alike. Doug Hess is the host!

Throughout movie history, makeup artists have helped create new faces for the silver screen, whether they were just changing their look to creating a new monster never before seen. As the years progressed, what used to only be images we could dream of, these makeup artists help bring them to life, giving generations and generations both a sense of wonder, and nightmares!  We decided to go through the cinematic history and discuss different monsters and makeup creations that have amazed and astonished us. And to help us, we figured why not have a guest that has been in the trenches for over three decades, Mr. Gino Crognale! So hit play, sit back and enjoy this trip down memory lane. Movies mentioned in this episode: Alien, The Amazing Colossal Man, An American Werewolf In London, Attack of the 50 Foot Woman, The Beast Within, The Brain That Wouldn't Die, Bride of Re-Animator, City of the Living Dead, Coming to American, Creature from the Black Lagoon, Curse of Frankenstein, Curse of the Werewolf, Dawn of the Dead (1978), Deep Rising, The Descent, The Devil's Rain, Dracula, Dr. Jekyll and Mr. Hyde (1922), Dr. Jekyll and Mr. Hyde (1932), The Exorcist, The Evil of Frankenstein, Fiend Without a Face, The Fly (1956), The Fly (1986), Frankenhooker, Frankenstein (1931), Friday the 13th, From Beyond, From Dusk Till Dawn, From Hell it Came, The Gorgon, The Green Mile, Harry and the Hendersons, The Hateful Eight, The Howling, Hideous Sun Demon, House on Haunted Hill (1959), Humanoids from the Deep, The Hunchback of Notre Dame (1923), Hunchback of Norte Dame (1939), I am Number Four, I, Madman, In the Mouth of Madness, Invaders of the Saucer Men, It Conquered the World, Jurassic Park, The Killer Shrews, Kinpin, London After Midnight, The Mist, The Mummy, Night of the Living Dead, Nightmare on Elm Street 3: Dream Warriors, Oz the Great and Powerful, The Penalty, The Phantom of the Opera, Plague of the Zombies, Planet of the Apes, Pumpkinhead 2, Predator, The Reptile, Return of the Fly, Robocop, Salem's Lot, The She-Creature, Sin City, Society, Tales from the Crypt, Tarantula, Terrorvision, Texas Chainsaw Massacre 2, The Thing (1982), The Tingler, Troll, Total Recall, The Walking Dead, Without Warning, The Wizard of Oz, The Wolf Man, Zombie

Transworld's Halloween & Attractions Show's 2023 Seminars are now listed online; Holiday horror comes to Conroe Texas with TerrorFest: A Christmas Horror Convention; The next Ohio Haunters Association meeting will take place on January 22nd, 2023 at the Ohio State Reformatory; Two men have been charged for the July 15th break-in and robbery at Planet Doom Haunted House; Strangest Things Farms will present their "Krampus Nights" Christmas haunt every Friday and Saturday through December 31st; Nightmare on Edgewood finishes their 45th haunt season this Saturday with their Holiday Nightmares event; Sugarmynt Gallery hosts a Very Tim Burton Xmas Party this Saturday; Revenge Of will host a Krampus Village on December 17th; The Haunted Attraction Association is now accepting Board of Directors applications; Reminder - The Haunted Attraction Association's Annual Scholarships entry deadline is 11:59 p.m. EST on January 1st; Knott's Scary Farm will celebrate their 50th anniversary season select nights September 14th - October 31st; Busch Gardens' Howl-O-Scream returns select nights September 8th - October 31st, 2023; The Haunted Mine Drop in Glenwood Caverns Adventure Park will re-open in 2023 after a re-theme by Creative Visions; VFX is now taking orders for the 2023 season; Distortions Unlimited releases new "After Midnight" prop inspired by the classic Lon Chaney silent horror film "London After Midnight"; Updated Holiday Haunts list. Subscribe: https://linktr.ee/hauntedattractionnetwork

This week's episode of We Have A Technical features an interview with none other than London After Midnight mastermind and all around goth icon Sean Brennan, who's joining us to discuss the band's new Oddities Too compilation, as well as the band's different eras and aesthetic dimensions over the years. We're also discussing Synth Kids, Thomas Z Westerberg's graphic novel about coming of age in Sweden's late 80s synth scene. 

Monday, November 7th, 2022: Communion After Dark -- featuring the latest and best in Dark Alternative-Electronic Music - This week's show features music from Solitary Experiments, C-Lekktor, Beyond Border, Mono Inc., Omnimar, London After Midnight, and more 

On this spooky season edition of Parallax Views, film scholar Gary D. Rhodes, one of the foremost authorities on Bela Lugosi and classic horror cinema, and Robert Guffey return to the show to discuss their new edited volume Scripts from the Crypt No. 12: Tod Browning's Revolt of the Dead. Tod Browning is perhaps best known for director 1931's Dracula. Starring Bela Lugosi as the titular vampire count, a role which he'd become inextricably linked to for the rest of his career, Dracula was a massive success for Hollywood's depression era Universal Studios and launched that studios foray into making wildly popular creatures features for the next three decades. Before The Creature from the Black Lagoon, Frankenstein, The Invisible Man, and The Mummy there was Tod Browning's Dracula. Browning, however, wasn't new to either Hollywood or weaving tales of the macabre for the silver screen. Born on July 12, 1880, Browning ran was fascinated from a young age by carnivals and eventually ran away from home to join a traveling circus. From there he'd transition to acting and, finally, becoming a director. In the silent film era, Browning became known for his collaborations with Lon Chaney, Sr., who became known as "The Man of a Thousand Faces" and whose credits include such classics as The Hunchback of Notre Dame and The Phantom of the Opera. Together, Browning and Chaney told macabre tales involving themes like violence and mutilation in films like West of Zanzibar, The Unholy Three, The Unknown, and the infamously lost London After Midnight. Browning would then go on to direct Dracula before making other films such as the controversial Freaks (featuring real-life circus people) his London After Midnight talkie remake Mark of the Vampire. In this conversation Gary, Robert and I discuss: - An introduction to the Scripts from the Crypt series founded by film historian Tom Weaver - Biographical background on Tod Browning, who was often spoken of as the Edgar Allen Poe of filmmakers in his time and his influence on filmmakers and artists including Ray Bradbury, Alejandro Jodorowsky, and Woody Allen - The critical beating Browning has taken over the years and why Gary argues that it's mistaken; the Spanish Dracula vs. Browning's Dracula; Browning's transition from the silent films to talking motion pictures; Browning's collaborations with Lon Chaney Sr. and the horror elements in them - Browning's light-hearted murder mystery Miracles for Sale; Browning's early talkie The Thirteenth Chair starring Bela Lugosi (before Dracula) and its taking on the subject of spiritualist conmen/frauds; Browning's silent films such as West of Zanzibar, The Unknown, and The Unholy Three - Tod Browning's thematic obsessions: trickery, fakery, deception, mutilation, sexual frustration, and more; the different kinds of trickery dealt with in Browning's films; harmless truths vs. dangerous lies and swindling; skepticism towards medium, seances, and the supernatural; women and how they are portrayed in Browning's movies (such as Carol Borland's Luna in Mark of the Vampire); the Scooby Doo-eqsue element of Browning's murder mysteries - Tod Browning's Freaks; a movie that used real-life circus people; the film's subversive quality by way of its making viewers sympathize with the circus people and treating the "normal" people as the villains; the question of Freaks success and its effect on Browning's career; mentioning how the pop punk band The Ramones were influenced by Freaks; the role of vaudeville, circuses, and sideshow life on Browning's work - The Browning script/treatment for the unmade movie Revolt of the Dead; the movie would've predated William Friedkin's The Exorcist and Night of the Living Dead in dealing with now common horror tropes like demonic possession and the zombie apocalypse; Revolt of the Dead would've even included human crucifixions; the story would've also included the phenomena of stigmata, the inexplicable appearance of wounds on the wrists like those of Jesus Christ during the crucifixion; the unique qualities of the script - Tod Browning's Londo After Midnight, the "Holy Grail" of lost films; the rumors, legends, hoaxes around the movie ever since it was destroyed in a fire at the MGM vault; the iconic image of Lon Chaney Sr;. in scar make-up for London After Midnight; other lost films including F.W. Murnau's Der Januskopf (aka The Head Janus; starring Conrad Veidt and Bela Lugosi) and the 1959 Bela Lugosi-headlining chiller Lock Up Your Daughters - Robert' novel Bela Lugosi's Dead, which deals with a man searching for the lost test footage of Lugosi as Frankentein's monster - The Revolt of the Dead in relationship to White Zombie, William Seabrook's Magic Island novel and its success, American military involvement in Haiti, and racist/xenophobic sentiments about Haiti in the early 20th century - Appreciating early 20th century cinema; getting past the "I can't watch Black-and-White movies" mentality; the rewarding aspect of watching classic movies - Tod Browning and the Grand Guignol, the theater tradition in France obsessed with the gruesome and grotesque And much, much more!

Warner Bros executive George Feltenstein is joined by horror expert and filmmaker Constantine Nasr to discuss the October 2022 Blu-ray releases from the Warner Archive.  We kick off the discussion with a revisit of the 1957 Hammer Horror classic  THE CURSE OF FRANKENSTEIN" starring Peter Cushing, Christopher Lee, and directed by Terence Fisher.  Constantine Nasr reviews the extras he produced for this release during the height of COVID and George explains the reason for the 2-disc Special Edition.Next, we discuss the restoration of the 1935 horror classic "Mark of the Vampire" starring Lionel Barrymore, Lionel Atwill, Bela Lugosi as the Vampire, and directed by Tod Browning.  This film has been described as a remake of Brownings lost 1927 silent film "London After Midnight."  And finally, we discuss the restoration and historical importance of the pre-code horror classic "Dr. Jekyll and Mr. Hyde" (1931) starring Fredric March who won an Oscar for his portrayal of both Jekyll and Hyde, Miriam Hopkins, and Rose Hobart. George provides background on the restoration and history behind the film, including the ground-breaking direction by Rouben Mamoulian.  Film historian Constantine previews his audio commentary with Dr. Steve Haberman, which is new to the release and provides fascinating revelations about missing scenes, risqué visuals actually cut from the film for many years, and the importance of this film along with Dracula and Frankenstein, in ushering in a new age of horror to the talkies.Purchase on Amazon:Dr. Jekyll and Mr. Hyde (1931) Blu-rayMark of the Vampire (1935) Blu-rayThe Curse of Frankenstein Blu-rayOtaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  www.otakumedia.tv

The infamous lost film arrives on the podcast with September's bonus horror adjacent episode. This month we watch a reconstruction of Tod Browning's LONDON AFTER MIDNIGHT (1927) by producer Rick Schmidlin! The film stars Man of a Thousand Faces Lon Chaney in one of his most iconic disguises. Context setting 00:00; Synopsis 36:31; Discussion 50:00

After recently DJing a wedding, I contemplated what I'd play for a goth wedding.This mixtape episode features: Last Beat of My Heart by Siouxsie & The Banshees, This Love by Craig Armstrong, Somebody by Depeche Mode, Sacrifice by London After Midnight, Lips Like Sugar by Echo & The Bunnymen, Shadow of Love by The Damned, This Twilight Garden by The Cure, For Last and Forever by Azar Swan, and This Love Is Dark by Licorice Chamber. What would you include in a goth wedding playlist?Thank you for your support - our tip jar is https://ko-fi.com/prophecytoronto678

Going back to the good old days in the 90's. What was your best concert on the Sunset Strip in Hollywood, CA? What was your worst Concert? The Gen X Brothers talk about them all. From Alan Holdsworth, London Suede, Screaming Mad George to Kettle Cadaver and Sean Brennan of London After Midnight, as well as Rebel and Rebel Rebel. The local Hollywood scene was on fire back in the day. Hollywood Ca was the place to see great music shows in the 90's. No show would be complete without discussing Erik's everlasting KISS Saga with Sam Loomis, Roy Damm, the Gooch and friends. Glenn and Erik also talk about Politics - Jon Stewart and Alex Jones Mentioned in this episode: Edge of Life Designs www.edgeoflifedesigns.com Edge of Life Designs www.edgeoflifedesigns.com

Stitched Up Heart bass player Randy Mathias and actor/comedian Rosalee Mayeux joined Mark and Nicole for a fast and funny show Randy has known Mark and Nicole for a long time through the LA Goth scene and talks about his journey from forming bands with former members of Marilyn Manson and Dead Kennedys, to his being in legendary goth band London After Midnight (where he ran onstage in Germany in a thong) to joining Stitched Up Heart and going from touring in a cramped van, to playing barns in Louisiana, to playing on cruise ships, opening for Godsmack and Steel Panther to performing in festivals worldwide (including a recent one where due to weather they headlined in lieu of Guns N Roses). He explains how COVID affected a plan push for the band and stranded him in England for a time and how there is new Stitched Up Heart music on the way and 2023 will be a big year for the band Rosalee grew up in a small town in Louisiana and then became a very successful fashion model in Paris.  She was fired by Versace in a most unusual way which led to her being the most successful "mom" in advertising, filming over 300 commercials and working with stars such as Leslie Nielsen, Shirley MacLaine and Bill Murray, with whom Rosalee found herself trapped in a closet with. She also talks about starring in the cult movie The Lawnmower Man, and how she found herself again in stand-up comedy where she can tame even the rowdiest and dirtiest crowds in LA and beyond with her sharp wit and stage presence. Go to stitchedupheart.com and rosaleemayeux.com for more information and merch You can order Nicole's new poetry book "Slow Burn" on lulu.com Eddie by Giddy FDA Class II medical device built to treat erectile dysfunction and performance unpredictability. Eddie is specifically engineered to promote firmer and longer-lasting erections by working with the body's physiology. Get rock hard erections the natural way again. Using promo code DARKMARK20, you can save 20% on your Eddie purchase, and you and your partner will be chanting incantations of ecstasy together faster than you can say “REDRUM.” Go to buyeddie.com/DarkMark for 20% off your purchase using code DARKMARK20 today. Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash.

On the night of Tuesday 23rd October 1928, a constable's torchlight spotted two bodies splayed on the grass. Drenched in blood, their throats slit, he believed their deaths were a double suicide. And although proven untrue, the killer's motive would come not from love or hate……but from the twisted imagination of the master of horror.Murder Mile is researched, written and performed by Michael of Murder Mile Walks with the main musical themes written and performed by Erik Stein and Jon Boux of Cult With No Name and additional music, as used under the Creative Commons License 4.0. A full listing of tracks used and a full transcript for each episode is listed here and a legal disclaimer.For LINKS CLICK HERELink to Live LONDON and GLASGOW ShowsSupport this show http://supporter.acast.com/murdermile. See acast.com/privacy for privacy and opt-out information.

Toys. Not for just kids anymore, are they? Especially when you're talking about toys created from our nightmares and the countless horror films that we have devoured in our lifetime. It is amazing the amount of horror toys that are out now, as well as the wide variety of them too! From our favorite monster characters, to the classics, to the obscure, they are out there. Listen in to hear about the ones we "grew up with" as well as a little history lesson, especially about the Living Dead Dolls! Movies mentioned in this episode: Alien, The Black Hole, Candyman, Clash of the Titans, Creature from the Black Lagoon, Dune, Escape from L.A., Escape from New York, Erotic Rites of Frankenstein, Evil Dead, The Exorcist, The Fly, Friday the 13th, Forbidden Planet, Frankenstein, Groovie Goolies, Hellraiser, Hellbound: Hellraiser II, Jaws, London After Midnight, Mad Doctor of Blood Island, Masters of the Universe, The Munsters, Teenage Mutant Ninja Turtles, Nekromantik, Nightmare on Elm Street 3: Dream Warriors, A Nightmare on Elm Street, Rocky Horror Picture Show, Shawn of the Dead, Sleepaway Camp, Star Wars, Texas Chain Saw Massacre, Texas Chainsaw Massacre II, Tombs of the Blind Dead, Toxic Avengers, Transformers, Virus, Wishmaster, The Wolf Man

Acompáñenos a conocer algunas maldiciones que se manifestaron en películas como “Poltergeist”, “El Bebé de Rosemary”, “La Profecía” “Incubus” y London After Midnight”. Revisaremos otro tipo de maldiciones que marcaron la vida de James Dean y Mila Nurmi así como del protagonista de la cinta “The Crow” Brandon Lee y además, tendremos para ustedes recomendaciones de cine para las fechas espectrales que se aproximan. Sin miedo…¡Denle play ahora!

This week's episode of Crestwood House brings our Vampire tryptic to a close with Todd Browning's remake of his infamous lost film London After Midnight, 1935's Mark of the Vampire. Join Michael, Paxton and Shawn as they take a look at Bela Lugosi's return to vampirism, and one of cinema's first big twist-ending features.

What is it about Jennifer Kent's film The Babadook that draws so many people in? Before writer/director Jennifer Kent made her debut feature film The Babadook, she made a short film called Monster which bears a lot of similarities with her feature. What it doesn't have is the metaphorical element that the feature carries, but it's got a mom, her son, and a monster living in the closet. In some ways, the streamlined short story works better because it's just a straightforward story. The feature film is hard to separate from its existence as a metaphor as grief. Still, countless people have found a connection with it. Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Kent's first film, 2014's The Babadook. Here's a hint at what we talk about in our conversation about The Babadook. Does the fact that the Babadook is so obviously a metaphor for the mother character's grief after losing her husband in a car wreck make the film less interesting? Or perhaps that's its strength and why so many people connect with it. Either way, the film seems to have garnered many fans who love it and just as many who find it too obvious as to what Kent is saying. (Oddly, when Andy first saw the film, he completely ignored any readings of the film and watched it only for what it was, and seeing it that way didn't work that well for him.) What it does do, however, is allow for interesting conversations about grief after watching it, so perhaps it's a win no matter how you see it. But assuming you get past the grief metaphor, what about the way the mother and child are written? It's a difficult duo to connect with because we're asked to join Amelia seven years after she's lost her husband and she's a mess. She also isn't a great parent – Samuel, who's about to turn seven – is aggressive, violent, and uncontrollable. He often seems like he's more in charge than she is. But is that a bad thing if they're written this way and we can't connect? Or does it force us to find a way to sympathize with them? (No matter how you slice it, though, six-year-old Noah Wiseman delivers as strong a child performance in a horror film as Danny Pintauro did in Cujo.) These two elements seem to largely be the things that keep audiences from really connecting with The Babadook. If you can get into the metaphor and if you can connect with the characters, you'll likely love this ride. If you can't truck with one or both of these, however, you may struggle a bit more with the film. And that's where we sit. That's not to say we didn't like The Babadook. Kent clearly has a handle on her directing style. The Babadook looks great. She uses creative transitions. We feel completely in this world and it works well. The character design of Mister Babadook, done with practical effects and patterned in part after Lon Chaney in London After Midnight, is terrifying. And honestly, there may be elements that we each struggle with but we still find it an effective ride. So to that end, should we count this as a win? We think so. It's a strong first film and clearly shows her vision as a storyteller. Plus, it allows for an exciting conversation. We have a great time digging into this one, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Script Draft 6.3 by Jennifer Kent Trailer Poster artwork Flickchart Letterboxd Jennifer Kent's short film Monster

What is it about Jennifer Kent's film The Babadook that draws so many people in? Before writer/director Jennifer Kent made her debut feature film The Babadook, she made a short film called Monster which bears a lot of similarities with her feature. What it doesn't have is the metaphorical element that the feature carries, but it's got a mom, her son, and a monster living in the closet. In some ways, the streamlined short story works better because it's just a straightforward story. The feature film is hard to separate from its existence as a metaphor as grief. Still, countless people have found a connection with it. Join us – Pete Wright and Andy Nelson – as we continue our Horror Debuts series with Kent's first film, 2014's The Babadook. Here's a hint at what we talk about in our conversation about The Babadook. Does the fact that the Babadook is so obviously a metaphor for the mother character's grief after losing her husband in a car wreck make the film less interesting? Or perhaps that's its strength and why so many people connect with it. Either way, the film seems to have garnered many fans who love it and just as many who find it too obvious as to what Kent is saying. (Oddly, when Andy first saw the film, he completely ignored any readings of the film and watched it only for what it was, and seeing it that way didn't work that well for him.) What it does do, however, is allow for interesting conversations about grief after watching it, so perhaps it's a win no matter how you see it. But assuming you get past the grief metaphor, what about the way the mother and child are written? It's a difficult duo to connect with because we're asked to join Amelia seven years after she's lost her husband and she's a mess. She also isn't a great parent – Samuel, who's about to turn seven – is aggressive, violent, and uncontrollable. He often seems like he's more in charge than she is. But is that a bad thing if they're written this way and we can't connect? Or does it force us to find a way to sympathize with them? (No matter how you slice it, though, six-year-old Noah Wiseman delivers as strong a child performance in a horror film as Danny Pintauro did in Cujo.) These two elements seem to largely be the things that keep audiences from really connecting with The Babadook. If you can get into the metaphor and if you can connect with the characters, you'll likely love this ride. If you can't truck with one or both of these, however, you may struggle a bit more with the film. And that's where we sit. That's not to say we didn't like The Babadook. Kent clearly has a handle on her directing style. The Babadook looks great. She uses creative transitions. We feel completely in this world and it works well. The character design of Mister Babadook, done with practical effects and patterned in part after Lon Chaney in London After Midnight, is terrifying. And honestly, there may be elements that we each struggle with but we still find it an effective ride. So to that end, should we count this as a win? We think so. It's a strong first film and clearly shows her vision as a storyteller. Plus, it allows for an exciting conversation. We have a great time digging into this one, so check it out then tune in. The Next Reel – when the movie ends, our conversation begins! Join the conversation with movie lovers from around the world on The Next Reel's Discord channel! Film Sundries Learn more about supporting The Next Reel Film Podcast through your own membership — visit TruStory FM. Watch this on Apple or Amazon, or find other places at JustWatch Script Draft 6.3 by Jennifer Kent Trailer Poster artwork Flickchart Letterboxd Jennifer Kent's short film Monster

This month's We Have A Commentary episode, made possible as always by the generous financial support of our Patreon backers, has us taking up the sophomore record from London After Midnight. An inescapable presence in goth nightclubs, headphones, and bedrooms in the late 1990s, Psycho Magnet gathered elements of darkwave and deathrock around the striking figure and vocals of frontman Sean Brennan.

After a brief hiatus, Arcane Machine is back! Just and Ed are celebrating their return to in-person recording with a satchel full of incredible music. Check out their thoughts on some goth classics from the Sisters of Mercy and London after Midnight, and get ready to stomp to some aggressive industrial bangers from Chemlab and Birmingham 6! Send your listener submissions/ suggestions to arcanemachinepodcast@gmail.com! The Arcane Machine is a monthly show with supplemental content on Facebook, Twitter, and Discord throughout each month. If you like what you hear, please visit the artists' pages linked below and buy some music! Social Media: The Belfry: A Home for Dark Culture: The Belfry is the home of excellent podcast Cemetery Confessions, plus interviews, art, and other podcasts rooted deeply in dark/ alternative lifestyles. Join our Facebook group for discussion and bonus content: https://www.facebook.com/groups/TheArcaneMachine/ Follow The Arcane Machine on Twitter: @arcane_machine Follow The Arcane Machine on Instagram: @the_arcane_machine Use the Discord Widget on the side of the page to join our server and chat with us The Tracklist:   1 – “The Kill” by Birmingham 6 from the album Error of Judgement (1996) (Website) 2 – “Vision Thing” by Sisters of Mercy from the album Vision Thing (1990) (Website) 3 – “Atomic Automatic” by Chemlab from the album Oxidizer (2004) (Facebook) 4 – “Cold War” by Funker Vogt from the album Machine Zeit (2000) (Website) 5 – “Bad Blood” by Ministry from the album Dark Side of the Spoon (1999) (Bandcamp) 6 – Your Best Nightmare” by London After Midnight from the album Selected Scenes from the (Bandcamp) 7 – “Come Alive” by Pendulum from the single Come Alive (2021) (Website) 8 – “Brother” by Kanga from the album You and I Will Never Die (2021)(Bandcamp)

If there's one thing that a true film aficionado obsesses over it's lost media. These are films that were made, or rumored to have been made, but, due to any number of circumstances, are lost to time, presumably never to be seen again. In the horror genre, one such movie is the immortal Lon Chaney's "London After Midnight". In this silent detective/horror film, Chaney plays both the crime fighter and the criminal.  The last known print was lost in a fire in 1967, and the only way to see any version of it is through music and still photographs. This is a movie that deserves to be found, a movie that there is a burning desire for film students to see again, and learn from. Then, there are movies that are lost, and really don't deserve to be found, and one of those is Craig Denney's "The Astrologer", a $4 million dollar vanity project made by, and starring a man who had no talent in any way, shape or form, in film making, screenwriting, nor acting. "The Astrologer" has been found, and, after watching it, I want to punch the person who found it. The Bill Makes Podcasts Website Bill Makes Podcasts Facebook Group Become a Patron for as little as $5 a month and get weekly episodes! Join the Gentle Listener Newsletter!

If you missed out on hearing Heresy last night, salvation is here, you can now listen to the podcast. This week our stars of Soundtrack Soundbites was with Sunna, and we were with London After Midnight for Heresys Quantum Leap. Playlist Die Robot - Talk City SØLVE - Never + Enough IAMTHESHADOW - On Winter Leaves Embrace Clicks - I Dream Damsel In The Dollhouse - The Deeper Well Sunna - Power Struggle Dreams Divide - Freedom Ministry - Self Annoyed Slighter - Spill Blood The Joy Thieves - Tempting The Flames Lockjaw - Keep On Trying Orgy - Karma Kastles Drew Freeeman & Dominique Renard - Dreamscape Perturbator - Dethroned For A Funeral Haze The Black Capes - Bride Of Frankenstein COLOURSØUND - Under The Sun Blindcopy - P & H David Bowie - Lady Grinning Soul Mihi Nihil - I Eat You London After Midnight - Revenge London After Midnight - Heaven Now Rita Tekeyan - Devils OB Dead Lights - Ice Queen Marquis of Vaudeville - Dear Isabella You can catch Heresy every Saturday night at 10pm

Writer and horror fan Lauren Barnett introduces the podcast this Month's movie club pick from the 1920s: "London After Midnight" starring Lom Cheyne

In this episode, we're joined by Dan, a film scholar and horror movie buff.  We discuss the 1927 silent film London After Midnight, the first Hollywood vampire film.  Shrouded in mystery, this movie was lost in a warehouse explosion, and was responsible for a murder.  Is it cursed? Visit Dan's Youtube page at youtube.com/pathleft music by V►LH►LL vlhll.bandcamp.com

Become a member of the Say You Love Satan Army today! Join us! www.patreon.com/sayyoulovesatanpodcast This episode: - Sleazy Speakeasy - Trailer Trash - Feature Presentation: Bram Stoker's Dracula (1992) - Intermission *intermission track "Kiss" by London After Midnight from the 1996 album "Psycho Magnet". *outro track "After Dark" by Seraphim Shock from the 1997 album "Red Silk Vow". The podcast you are about to listen to is an account of the tragedy that befell four lower level low-lives sometime in the 1980s. Join us every week for an 80s horror overdose!!!!! website: www.sayyoulovesatanpodcast.com email: sayyoulovesatanpodcast@gmail.com Please rate, review, and subscribe on iTunes! instagram: sayyoulovesatanpodcast T-shirts, stickers, and a collection of ghoulish garb is available now at our Redbubble store! www.redbubble.com/people/sayyoulovesatan artwork: Sam Heimer

Greetings, and welcome back to Horror Business. We have one awesome episode in store for you guys. In this episode we’re talking about 1931’s Dracula and 1954’s Creature From The Black Lagoon. Off the top we apologize for the audio issue/sound quality. First and foremost, we want to give a shoutout to our sponsors over at Lehigh Valley Apparel Creations, the premiere screen-printing company of the Lehigh Valley. Chris Reject and his merry band of miscreants are ready to work with you to bring to life your vision of a t-shirt for your business, band, project, or whatever else it is you need represented by a shirt, sweater, pin, or coozy. Head on over to www.xlvacx.com to check them out. Also, thank you to our Patreon subscribers. Your support means the world to us and we are eternally grateful for that support. Thanks! We start by talking about what we’ve done involving horror recently. We talk about Random Acts Of Violence, Liam talks about watching the original The Amityville Horror for the first time recently as well as watching Children Of The Night and The Borrower. Justin talks about watching Night Of The Living Dead at the Mahoning Drive In. Up first is Dracula. We briefly talk about Tod Browning’s body of work including the famous lost film London After Midnight. We talk about the phenomenon of a large amount of people having read the book due to schools assigning it to students while not having seen the film, and how the film is based more on the stage production of the book than the book itself. We talk about strange unorthodox structure of the source material, the concept of sexuality and shame in the film, and Bela Lugosi’s status as a somewhat washed up sex symbol. We go off on a brief tangent on how the film differs from Coppola’s version, in that Coppola’s version dives way deep into Dracula’s backstory. We talk more about Lugosi’s stardom and his semi-feud with Boris Karloff. Justin rambles about being more frightened of Dwight Frye as Renfield than he is of Lugosi. Harker’s non-presence is touched upon. The film’s status as something of a keystone of Universal’s legacy when it comes to horror is touched upon. We briefly touch upon some of the things about the production of the film that we don’t about, including some of the things that are clearly holdovers from when the film was a stage production. Up next is The Creature From The Black Lagoon. Justin talks about how when he first saw Monster Squad as a child, the Gill Man was the monster that grabbed his attention the most and how for him the Gill Man is the only monster whose really withstood the test of time. We talk about some of the underlying themes of the film, such as the unusually positive stance on science for a ‘50s B film, the vague touches of racism (monstrous other menacing white woman). Liam talks about his first exposure to the film. We talk about how ‘50s sci fi monster movies are usually not our cup of tea. The gorgeous cinematography of the film is touched upon, as is the pacing and creature design. We talk about how the film deftly avoids the “wise indigenous person” trope but also has a touch of the previously mentioned “woman in peril from Other” trope. We talk more about the ‘50s cinema tendency to portray scientists as effeminate and useless, and how this film portrays scientists not only as not effeminate but as somewhat brawny and overly traditionally masculine. First and foremost, thank you to everyone and anyone who donated on Patreon, checked this episode out, or shared a tweet/shared a post on FB/gave us love by recommending us to someone. We love you forever for listening and donating. Any questions, comments, suggestions for movies and guests, or if you yourself want to join us for a movie viewing or even an episode, can be sent to thehorrorbiz@gmail.com. We would love to hear from you! Thanks always to Justin Miller, Jacob Roberts, and Doug Tilley for their technical contributions and fliers,

The final episode of the London After Midnight Trilogy. An absolutely savage murderer that terrorized the working girls in the West End of London during the Nazi Bombing campaign of WW2, is finally caught and brought to justice. Content warning by Dr. Stacey Hughes of the Oklahomacide: Slayings in the Sooner State Podcast. Show her some love...she's off to a great start!Patreon: https://www.patreon.com/user?u=29802408http://worsethanfictionpodcast.com/https://www.facebook.com/WorseThanFictionPodcasthttps://twitter.com/WorseTFPodcast Podcast Friends- True Crime Dropouts:https://podcasts.apple.com/us/podcast/true-crime-dropouts/id1509482509 Hometown Homicide:https://podcasts.apple.com/us/podcast/hometown-homicide/id1503375825The True Crime Witch Podcast:https://podcasts.apple.com/us/podcast/the-true-crime-witch-podcast/id1483665898 Theme music by Ecdysis:https://ecdysis66.bandcamp.com/https://www.facebook.com/ecdysisofficial/ epidemicsound.com

Whether or not horrors in movie can inspire horrors in real life has been debated since the silent film era. You can make up your mind in the case of London After Midnight. First, true crime headlines. Support the show and get ad-free episodes by joining Murder Minute + for only $4 a month. Follow us on TikTok @murderminutepod and on Instagram @murderminute and @truecrimeheadlines for even more true crime headlines. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second part of London After Midnight. This episode delves a bit more into the victim who appeared toward the end of the first part, as well as the details of what happened to the second victim of this fucking monster. It also introduces a couple of people who could BE the person that would eventually become known as The Blackout Ripper.  Patreon: https://www.patreon.com/user?u=29802408http://worsethanfictionpodcast.com/https://www.facebook.com/WorseThanFictionPodcasthttps://twitter.com/WorseTFPodcast Podcast Friends-Always Time For True Crimehttps://podcasts.apple.com/us/podcast/always-time-for-true-crime/id1499220194 Midwest Horror Co.https://podcasts.apple.com/us/podcast/midwest-horror-co/id1506962545 Reverie True Crimehttps://podcasts.apple.com/us/podcast/reverie-true-crime/id1492793721 Theme music by Ecdysis:https://ecdysis66.bandcamp.com/https://www.facebook.com/ecdysisofficial/epidemicsound.com

This week's edition of Into The Vault features London After Midnight!Playlist: Animal Scream - Black Magic WindGanser - ShadowcastingUltrviolence - Shadows Of The ThiefChoir Boy - Eat The FrogProtomartyr - Michigan HammersLondon After Midnight - SacrificeLondon After Midnight - KissLondon After Midnight - Love You To DeathCloud Nothings - Tall Gray StructureSahara - MirageKyle Avallone - I'm ReadyCivic Center - What We're Made OfVelvet Acid Christ - Taste The SinKanga - ViciousnessVore Aurora - Scratched SurfaceRavine Angel - StrengthMr.Kitty, featuring Megurine Luka - Dream DiverDaniel Avery - Dream DistortionParisian Orgy - JillianVanden Cool - Hours Away© Linda Fox - When I FloatThiago Nassif - TransparenteApparat - ScissorsVivienne Wilder - PostromanticZoe Polanski - CloserSong Sung - Come To The WaterWinter - Endless Space (Between You & I)Zoon - Bleached Wavves

In late 1940, Nazi bomber squadrons became the clouds in the sky over London, and the surrounding cities and ports. As terror rained from the sky during World War 2, one of Britain's own, could no longer keep his thirst for blood at bay.  Patreon: https://www.patreon.com/user?u=29802408http://worsethanfictionpodcast.com/https://www.facebook.com/WorseThanFictionPodcasthttps://twitter.com/WorseTFPodcastPodcast Friends-Malice: by Ariel Cooksey- https://podcasts.apple.com/us/podcast/malice/id1471251398 Human Monsters: by Morgan Rector https://podcasts.apple.com/gb/podcast/human-monsters/id1498722050 The True Crime Witch Podcast: by Emma Tranter https://podcasts.apple.com/us/podcast/the-true-crime-witch-podcast/id1483665898  Theme music by Ecdysis:https://ecdysis66.bandcamp.com/https://www.facebook.com/ecdysisofficial/epidemicsound.com

This may be our longest--and latest?--episode yet, wherein we discuss SPIDER-MAN: FAR FROM HOME, its spoilers, and its implications. It should have been done long ago (and perhaps split into multiple shows), but Rish wasn't able to get to it until now. We assure you he'll be much quicker in getting you their review of the recent LONDON AFTER MIDNIGHT, starring Lon Chaney and Marceline Day.

This may be our longest--and latest?--episode yet, wherein we discuss SPIDER-MAN: FAR FROM HOME, its spoilers, and its implications.It should have been done long ago (and perhaps split into multiple shows), but Rish wasn't able to get to it until now. We assure you he'll be much quicker in getting you their review of the recent LONDON AFTER MIDNIGHT, starring Lon Chaney and Marceline Day.Download the episode by right-clicking HERE and choosing save link or target as.

Vi byter avsnitt med kollegorna på From Beyond som tar sig an ett av skräckfilmens mest arketypiska monster. Richard och David kommer på kollisionskurs kring huruvida Ginger Snaps är en intressant eller bra film, men förenas i jämförelsen att om Vargtimmen är vampyrer så är From Beyond - varulvar! Aaoouuh. De pratar också om: Besökarna (men alldeles för lite), Universal Pictures, Dracula, Frankenstein, Boris Karloff, The Wolf Man, Zeus, Lykaon, Fenrisulven, Ragnarök, Diablo II: Lord of Destruction, Wendigo, Kitsune, Peter Stumpp, Porfyri, lykantropi, Richard Chase, The Vampire of Sacramento, The White Wolf, Le Loup Garou, Wolfblood, Werewolf of London, Warren Zevon, Lon Chaney Jr., Lon Chaney, London After Midnight, The Unknown, Phantom of the Opera, John Landis, An American Werewolf in London, Rick Baker, Joe Dante, Dee Wallace, E.T., Cujo, The Hills Have Eyes, John Carradine, Rob Bottin, Dick Miller, Whitley Strieber, The Howling II: Your Sister Is a Werewolf, Christopher Lee, An American Werewolf in Paris, Julie Delpy, Cursed, Wes Craven, Christina Ricci, Jesse Eisenberg, Joshua Jackson, Milo Ventimiglia, Bad Moon, Paul Naschy, Waldemar Daninsky, The Hombre Lobo, Curse of the Werewolf, Oliver Reed, Hammer Films, Terence Fisher, Wolfen, Skinwalkers, Albert Finney, Arkiv X, Supernatural, Skinwalker Ranch, Wolf, Jack Nicholson, Michelle Pfeiffer, James Spader, The Wolfman, Benicio del Toro, Dog Soldiers, Neil Marshall, Assault on Precint 13, The Descent, Peter Cushing, The Beast Must Die, Amicus Productions, Van Helsing, Hugh Jackman, Silver Bullet, Stephen King, Cycle of the Werewolf, Corey Haim, Gary Busey, Corey Feldman, The Monster Squad, Wolfman's Got Nards, John Gries, Napoleon Dynamite, Fright Night Part 2, Late Phases, Teen Wolf, Michael J. Fox, Teen Wolf Too, Jason Bateman, Full Moon High, The Craft, Den onda cirkeln, May, Angela Bettis, Lucky McKee, Orphan Black, Når dyrene drømmer, Låt den rätte komma in, Neil Jordan, The Company of the Wolves, Rob Zombie, Werewolf Women of the S.S., Nicolas Cage, Angela Carter, Rödluvan, Gothic, Ken Russell, La Bête, Walerian Borowczyk, Werewolf Woman, Letterboxd, Jess Franco, The Erotic Rites of Frankenstein, House of Dracula, Frankenstein Meets the Wolfman, Abbott och Costello, Santo & Blue Demon vs. Dracula & the Wolfman, Stephenie Meyer, Twilight, White Wolf, Vampire: The Masquerade, Werewolf: The Apocalypse, Underworld, What We Do in the Shadows, Taika Waititi, Mario Bava, Black Sabbath, Boris Karloff, Wurdalak, The Night of the Devils, Frostbiten, Cat People, Val Lewton, Paul Schrader, Nastassja Kinski, Jacques Tourneur, Mick Garris, Sleepwalkers, Mädchen Amick, The Howling III: The Marsupials, The Beast Within, Dario Argento, Dracula 3D, Conquest, Lucio Fulci, Mortal Kombat: Annihilation, Project: Metalbeast, Werewolves on Wheels, Monster Dog, Claudio Fragasso, Alice Cooper, Eclipse Total, Anthony Hickox, Mario Van Peebles, Wolf Guy, Sonny Chiba, WolfCop, Robert R. McCammon, Carnivorous Lunar Activities, Ulver, Nattens Madrigal - Aatte Hymne til Ulven i Manden och Buffy the Vampire Slayer. Nostalgi, löst tyckande och akademisk analys i en salig röra.

London After Midnight is the mother of all lost horror films. Unfortunately for the crew at Attack of the Killer Podcast the only lost films we can find are the ones collecting dust in each of our to-do lists. Join us, (evil dead voice) as we unwrap and review an unwatched movie from our collections on this episode of Attack of the Killer Podcast.FOLLOW YOUR HOSTS!Insane Mike Saunders: Facebook | Twitter | WebsiteJason Bolinger: Facebook | Twitter | WebsiteTadd Good: Facebook | Twitter | WebsiteAndrew Wassom: FacebookDOWNLOAD

Could the 1927 silent film London After Midnight starring Lon Chaney have caused a man to commit murder? The mystery deepens when all copies of the film are destroyed in a vault fire. Is this film cursed? See acast.com/privacy for privacy and opt-out information.

A las 12:30 escucha @CanalMisterios hablaremos de Licantropía y de un film lleno de misterio, y es que a veces la realidad supera la ficción, esto y mucho más con Cristina López Aluriel Vera Maria Toro y Juan Perdomo Presenta Nuria Mejias escúchanos en la 97.7 Radio Levante @977radio #radio #Valencia MisterioFm.com

Tod Browning and Bela Lugosi chase past glories in this 1935 horror MARK OF THE VAMPIRE! This remake of Browning's 1927 LONDON AFTER MIDNIGHT features a truly Halloween atmosphere with Lionel Barrymore, Elizabeth Allan, Lionel Atwill, and Jean Hersholt. Context setting 00:00; synopsis 33:18; discussion 43:04; ranking 1:07:24

Nos hemos pasado.Vale, lo sabemos. Somos madafakas, y nos hemos pasado.Pero no queríais que lo dividiéramos, y habéis estado mucho tiempo esperando, así que aquí está: el podcast sobre vampiros. Nuestra magna obra, y no porque sea buena, sino porque es un TOCHACO. Aquí caben cuatro de nuestros podcasts normales…Y como comprendo lo tochaco que es, aquí os dejo un "resumen" de lo que podéis encontrar en él, para que os sea fácil llegar sólo a los cachos que os interesen (que no me entere yo, malditos...).I. INTRO y bla, bla, blaSaludos a los oyentes, comentarios y tres promos:Comando Alt SuprimirInvaders PodcastPodcast CaramelizadoII. 1ª PARTE: Génesis -vampiros en la antigüedad y otras culturasUn poco sobre los antepasados del vampirismo y leyendas de diversas culturas (Mesopotamia, Grecia antigua, Asia, América...).III. 2ª PARTE: Europa y la histeria del siglo XVIIIOtro poco sobre el origen del vampiro tal y como lo conocemos, los puntos débiles de los chupasangres y características en general. También algo sobre nombres y etimología, y las causas que llevaron a creer en el nosferatu. IV. 3ª PARTE: Vampiros en la literatura y el cineEl grueso del podcast, supongo.Comenzando en el Romanticismo y las novelas de terror gótico, hacemos un tour por muchas de las obras en las que el vampiro hace su aparición.Aquí incluyo un listado, y como en el podcast mencionamos que algunos poemas los pondríamos en el blog, los he añadido. Der Vampir (Heinrich August Ossenfelder)Mi querida y joven doncella se aferraInflexible, rápida y firmementeA las antiguas enseñanzasDe una madre siempre fiel,Así como, en las orillas del Tisza,Los oficiales húngarosCreen en la leyenda del vampiro inmortal.Pero mi Christine, perdéis el tiempo,Y rechazáis mi amor,Hasta que yo, vengativo,Brinde a la salud de un vampiroCon pálido Tokay (vino húngaro). Y mientras durmáis delicadamenteA vos vendré arrastrándome,Y la sangre de vuestra vida absorberé.Y así temblaréis,Pues yo estaré besándoos,Y vos estaréis cruzando las puertas de la MuerteCon miedo, en mis fríos brazos.Y al final os preguntaré:“Comparados con tal enseñanza¿Qué son los encantos de una madre?” La novia de Corinto (Goethe)A salir de mi tumba y errar soy forzada,A buscar el vínculo a Dios hace tiempo cortado,A amar al prometido que he perdidoHasta que la sangre vital de su corazón haya bebido.Thalaba el Destructor (Robert Southey) Christabel (Samuel Taylor Coleridge)El Giaour (Lord Byron)[fragmento]Pero primero, sobre la tierra, como vampiro enviado,tu cadáver de la tumba será arrancado;luego, lívido, vagarás por el que fuera tu hogar,y la sangre de todos los tuyos has de beber;allí, de tu hija, hermana y esposa,a medianoche, la fuente de la vida secarás;Aunque abomines del banquete, debes, forzosamente,nutrir tu lívido cadáver viviente. Tus víctimas, antes de expirar,en el demonio a su señor verán;maldiciéndote, maldiciéndose,tus flores marchitándose están en el tallo.Pero una que por tu crimen debe caer,la más joven, entre todas, la más amada,llamándote padre, te bendecirá:¡esta palabra envolverá en llamas tu corazón! Pero concluir debes tu trabajo y observaren sus mejillas el último color;de sus ojos el último destello,y su postrera y vidriosa mirada debes verhelarse sobre el azul sin vida. Con impías manos desharás luegolas trenzas de su dorado cabello,que fueron en vida bucles por ti acariciadosy con promesas de tierno amor despeinados;¡pero ahora tú lo arrebatas, monumento a tu agonía! Con tu propia y mejor sangre chorrearántus rechinantes dientes y macilentos labios.Luego, a tu lóbrega tumba caminarás;ve, y con demonios y espíritus delira,hasta que de horror estremecidos, huyande un espectro más abominable que ellos.The Vampyre (John William Polidori)The Skeleton Court, or The Vampire Mistress (Elizabeth Caroline Grey) Varney the Vampire (James Malcolm Rymer) Carmilla (Sheridan LeFanu) Drácula (Bram Stoker)Vampire of the CoastThe Vampire (Robert Vignola) Nosferatu, una sinfonía de horror (F. W. Murnau) London After Midnight (Tod Browning) Drácula (Tod Browning) I am Legend (Richard Matheson)Drácula (Terence Fisher) The Fearless Vampire Killers (Dance of the Vampires) (Roman Polanski /Gérard Brach) Vampire Lovers / Las amantes vampiro (Roy Ward Baker)Blackula (William Crane) Blood for Dracula (Paul Morrissey) Salem’s Lot (Stephen King)The Dracula Tape (La voz de Drácula) (Fred Saberhagen)Entrevista con el Vampiro (Anne Rice) Zoltan, Hound of Dracula (Albert Band)The Hunger (Whitley Strieber)Fevre Dream / Sueño del fevre (George R. R. Martin) El ansia (Tony Scott)Lost Boys / Jóvenes ocultos (Joel Schumacher)Lost Souls (Poppy Brite)Anno Dracula (Kim Newman (Neil Gaiman))Drácula de Bram Stoker (Coppola)Entrevista con el vampiro (Niel Jordan)Abierto hasta el amanecer (Robert Rodríguez / Tarantino)Buffy cazavampiros (Joss Whedon)Blade (Stephen Norrington)Vampiros (John Carpenter)Vampyrrhic / El ejército de las sombras (Simon Clark)La sombra del vampiro (E. Elias Merhige)Drácula 2000 (Patrick Lussier)Jesucristo cazavampiros (Odessa Filmworks – Lee Demarbre)The Southern Vampire Mysteries [Dead until Dark] (Charlaine Harris)30 Days of Night (Steve Niles / Ben Templesmith)Underworld (Len Wiseman)La liga de los hombres extraordinarios (Alan Moore / Stephen Norrington)Van Helsing (Stephen Sommers)Låt den rätte komma in (John Ajvide Lindqvist) La historiadora (Elizabeth Kostova)Twilight (Stephenie Meyer)La criatura perfecta (Glenn Standring)30 días de noche (David Slade)Soy leyenda (Francis Lawrence)Moonlight (Ron Koslow / Trevor Munson)Déjame entrar (Tomas Alfredson)Crepúsculo (Catherine Hardwicke)True Blood (Alan Ball)Lesbian Vampire Killers (Phil Claydon) IV. EPÍLOGO o el trastero de los vampiros Aquí hablamos de algún que otro personaje real relacionado con el mito, como Vlad Tepes o Erzsébet Báthory, y de otros vampiros que decidimos dejar aparte:Vampiros en los videojuegos (Castlevania, Soul Reaver, Suikoden, Final Fantasy, Metal Gear Solid, D)Vampiros en los cómics y dibujos animados……y Transformers. Canciones que se pueden escuchar en el podcast:Libérame, de Elliot Goldenthal (B.S.O. de Entrevista con el Vampiro)Bela Lugosi is Dead, de BauhausBáthory Aria, de Cradle of FilthCry Little Sister, de Gerard McMann and Michael Mainieri (B.S.O. de The Lost Boys)Gay Bar, de Electric SixThe Hunger & 1,000,000 year BC, de The MisfitsBad Things, de Jace EverettClaire’s Dream, de London After Midnight[Dibujos varios perpetrados por Brucelé y Danikilu]

Entrevista con Enrique Dueñas Hablar de Enrique Dueñas es hablar de uno de los creadores de juegos de mesa nacionales con un curriculum cada vez mas en alza, ya que ademas de los juegos que ya lleva editados, tiene en un corto plazo otros tantos que van a ser publicados. Algunos de sus títulos como London After Midnight y su segunda parte son el claro ejemplo de alguien que disfruta haciendo juegos, algunos como el llama micro juegos, pero prefiero llamarlos fillers. Exploradores del Valle Perdido es otro de sus juegos, donde con unas pocas cartas puedes sacar mucha diversión, ademas de ser juegos siempre a un precio muy económico. Los más reciente como Hexcalibur o Historias Corrientes son los que le están capultando hacia un sitio en el Olimpo de los creadores nacionales. En esta entrevista nos explicará un poco mas sobre el y sus juegos, y como no en lo que anda trabajando. Sin duda alguna un creador que debes seguir la pista de sus juegos. #juegosdemesa #jocsdetaula #boardgames #wadub #enriquedueñas

On this episode of GothCast, Dr.Sanders and James discuss four releases from the always romantic London After Midnight. Their albums are diverse and contained some dramatic shifts in sound. Let’s see how they hold up today!Click here to listen

David Powers is a filmmaker, podcaster, and staff member for the New York Asian Film Festival.In this two hour long episode (!) I chat with Dave about the New York Asian Film Festival, getting burned out from working on film sets, what happens if you don't follow your dreams, working with The Ultimate Warrior, pro wrestling, and tons more.If you find anything funny, useful, or entertaining in the podcast, please share using the new social sharing buttons. It helps out the podcast a lot. Thank you!Pre Show Notes-- For some reason Adam Corolla and his Podcast Producer, Nick Davis, liked my promo photo for this episode on Instagram. So THANK YOU to both of them for showing us some love.  — Need help with your podcast?! Hire me on Fiverr for only $5. We can chat podcast concepts, episode ideas, gear, marketing, and anything else you'd like to chat about. — Dave Bullis Podcast Filmmakers Group on Facebook - a FREE filmmaking group I made on Facebook. Show Notes-- DB Cooper vs BigFoot - A group of young hunters arrive at a secluded lodge in the Pacific Northwest. Little do they know that the hunters are about to become the hunted.-- London At Midnight - also known as The Hypnotist, was a 1927 American silent mystery film with horror overtones, distributed by Metro-Goldwyn-Mayer. The film was based on the short story "The Hypnotist" by Tod Browning, who also directed the film. London After Midnight starred Lon Chaney, Marceline Day, Conrad Nagel, Henry B. Walthall, and Polly Moran. The movie is now lost and remains one of the most famous and eagerly sought after of all lost films. The last known copy was destroyed in the 1967 MGM Vault fire. In 2002, Turner Classic Movies aired a reconstructed version, using the original script and film stills, by producer Rick Schmidlin.-- Nightmare on Elm Street -  several teenagers who are stalked and killed in their dreams (and thus killed in reality) by Freddy Krueger. The teenagers are unaware of the cause of this strange phenomenon, but their parents hold a dark secret from long ago.-- Dolemite - a 1975 American blaxploitation feature film, and is also the name of its principal character, played by Rudy Ray Moore, who co-wrote the film and its soundtrack. Moore, who started his career as a stand-up comedian in the late 1960s, heard around that time a rhymed toast by a local homeless man about an urban hero named Dolemite, and decided to adopt the persona of Dolemite as an alter ego in his act.-- Takashi Miike -  highly prolific and controversial Japanese filmmaker. He has directed over ninety theatrical, video, and television productions since his debut in 1991. Miike is credited with directing fifteen productions in the years 2001 and 2002 alone. His films range from violent and bizarre to dramatic and family-friendly.-- Park Chan Wook-  is a South Korean film director, screenwriter, producer, and former film critic. One of the most acclaimed and popular filmmakers in his native country, Park is most known for his films Joint Security Area, Thirst and what has become known as The Vengeance Trilogy, consisting of 2002's Sympathy for Mr. Vengeance, 2003's Oldboy and 2005's Lady Vengeance. His films are noted for their immaculate framing, black humor and often brutal subject matter.-- Visitor Q - The film's plot is often compared to Pier Paolo Pasolini's Teorema, in which a strange visitor to a wealthy family seduces the maid, the son, the mother, the daughter, and finally the father, before leaving a few days after, subsequently changing their lives.-- Audition - a 1999 Japanese horror film, based on the novel of the same name, directed by Takashi Miike. It is about a recent widower, Shigharu Aoyama (Ryo Ishibashi), whose son suggests that he find a new wife. Aoyama agrees, and with a friend, stages a phoney audition to meet a potential new partner in life. After interviewing several women, Aoyama becomes interested in Asami (Eihi Shiina), who responds well to him, although as they begin to date, her dark past begins to affect their relationship.-- 13 Assassins - Cult director Takashi Miike (Ichi the Killer, Audition) delivers a bravado period action film set at the end of Japan's feudal era. 13 Assassins - a masterful exercise in cinematic butchery (New York Post) is centered around a group of elite samurai who are secretly enlisted to bring down a sadistic lord in order to prevent him from ascending to the throne and plunging the country into a war torn future.-- New York Asian Film Festival - In 2002, Subway Cinema launched its flagship event, the annual New York Asian Film Festival (NYAFF), which has been presented in collaboration with the Film Society of Lincoln Center since 2010. Now entering its 15th year, NYAFF is North America's leading festival of popular Asian cinema. Subway Cinema's other events and initiatives include the annual Old School Kung Fu Fest (showcase for the best of classic martial arts films) and the New York Korean Film Festival (presented in collaboration with the Korea Society since 2014).The 16th Edition of the New York Asian Film Festival takes place, June 30th - July 15th, 2017. -- Ringo Lam -  a Hong Kong film director, producer, and screenwriter. Born in Hong Kong in 1955, Lam initially went to an acting school. After finding he preferred making films to acting, he went to Canada to study film. In 1983, he returned and began filming comedy films. After the commercial success of his film Aces Go Places IV, he was allowed to develop his own film. Lam directed City on Fire in 1987, which led him to winning his first Hong Kong Film Award, and has been extensively referenced as the fundamental inspiration for Quentin Tarantino's first film, Reservoir Dogs.-- City on Fire - a 1987 Hong Kong crime film written, produced and directed by Ringo Lam, and starring Chow Yun-fat, Danny Lee and Sun Yueh. Following A Better Tomorrow (1986), it helped establish Chow's popularity as an action star in Asia, and to a lesser degree, North America.-- Reservoir Dogs - is a 1992 American crime thriller film that depicts the events before and after a botched diamond heist. The film was the feature-length debut of writer and director Quentin Tarantino, and stars Harvey Keitel, Michael Madsen, Steve Buscemi, Chris Penn, Lawrence Tierney, and Tim Roth. Tarantino and criminal-turned-author Edward Bunker have minor roles. It incorporates many themes that have become Tarantino's hallmarks: violent crime, pop culture references, profanity, and nonlinear storytelling.-- Pulp Fiction - is a 1994 American black comedy neo-noir crime film written and directed by Quentin Tarantino, from a story by Tarantino and Roger Avary. Directed in a highly stylized manner, Pulp Fiction connects the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue.-- The French Connection & The Exorcist -  This is what I was referring to in the podcast. A professor argued that this is the greatest, '1-2 punch' in cinema history.-- Vampire Girl vs Frankenstein Girl - Vampire Girl vs. Frankenstein Girl is the terrifying story of two classic monsters re-imagined as super hot - and super lethal - Japanese school girls. Gore rules supreme in this blood-cake cavalcade of carnage!-- Chikara Pro - an American professional wrestling promotion based in Philadelphia, Pennsylvania. The company takes both the name and logo from the Japanese kanji meaning strength. It was founded in 2002 by professional wrestlers Mike Quackenbush and Reckless Youth, who also served as trainers and in-ring performers.-- Zach Even Esh - Strength Coach at RUWrestling, Founder of The Underground Strength Gym,Host of The Strong Life Podcast, and Author.-- The Underground Strength Gym -  Zach's gym located in Edison, NJ-- Sue Lee - Sue studied fine arts and pre-med sciences at Colgate University to pursue a stable career in medical prosthetics. However, she finally took the risk of pursuing her dreams by attending the Tom Savini Special Makeup Effects program.-- Beyond Wrestling - Pro wrestling organization in Rhode Island, and independent wrestling's most watched YouTube channel.-- Tommy Wiseau -  is a director, actor, producer, and screenwriter based in the United States. He produced The Room (2003), which has been described by many critics as "one of the worst movies ever made" and has gained cult film status-- Pro Wrestling Terms-- Film Set Lingo-- Brick - Brendan Frye is a loner, someone who knows all the angles but has chosen to stay on the outside. When the girl he loves turns up dead, he is determined to find the "who" and "why" and plunges into the dark and dangerous social strata of rich girl Laura, intimidating Tug, drug-addled Dode, seductive Kara, and the ominous Pin. But who can he really trust? These are the ingredients of Brick, a gritty and provocative thriller that critics describe as "a clever, twist-filled whodunit!"-- Sasha Banks intergender pro wrestling match - Look for David Powers running a camera while standing on a ladder in the background-- Sid Caesar - was an American comic actor and writer, best known for two pioneering 1950s live television series: Your Show of Shows, which was a 90-minute weekly show watched by 60 million people, and its successor, Caesar's Hour, both of which influenced later generations of comedians.-- Casino - Robert De Niro, Sharon Stone and Joe Pesci star in director Martin Scorsese's riveting look at how blind ambition, white-hot passion and 24-karat greed toppled an empire. Las Vegas, 1973, is the setting for this fact-based story about the Mob's multimillion-dollar casino operation, where fortunes and lives were made and lost with a roll of the dice.-- Dawn of the Dead - David Emge, Ken Foree. Zombies take over a shoppi