Podcast appearances and mentions of Mario Kassar

Roger takes us back to his days at Carolco Pictures, the "little" movie studio behind the Rambo and Terminator movies. He also has tales of a Stallone power grab, how Schwarzegger got his own airplane and the company's founders Mario Kassar and Andrew Vajna. Roger also vividly describes movie studio accounting and why you should beware of it, plus dealing with tax lawyers and the likes of Richard Donner and William Peter Blatty. Once you listen you'll feel like a Hollywood insider yourself. Learn more about your ad choices. Visit megaphone.fm/adchoices

For our second episode of 2023, we look back, as we did with Neil Diamond's only starring role last week, at the one and only acting role the late, great football star Pelé would ever make: Escape to Victory, a football-themed World War II drama that would also feature Michael Caine, Sylvester Stallone and Max von Sydow.   ----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.   On December 29th, while this show was on hiatus, the football world lost Edson Arantes de Nascimento, the legend known around the world by his single word nickname, Pelé. Even if you weren't a particular fan of football in the 1960s and 1970s, you more than likely knew who Pelé was. The International Olympic Committee named him the Athlete of the Century in 1999. Time Magazine named him one of the 100 most important people of the Twentieth Century. In the Brazilian city of Santos, where a fifteen year old Pelé got his professional start in 1956, a museum dedicated to all things Pelé opened in 2014, with more than 2400 items devoted to his life and careers.   After he retired from football in 1977, in an exhibition game between the New York Cosmos of the North American Soccer League, where Pelé had been playing for three years, and Santos, his former club of nineteen years, Pelé would become a global ambassador for the sport, and record an album of music alongside fellow Brazilian Sergio Mendes to accompany a documentary about his life.   And because this is a podcast about 80s movies, he would, of course, attempt a career in motion pictures.   And those who were going to be responsible for making Pelé a movie star were not going to take any chances.   Because Pelé was the most famous footballer on the planet, the movie was going to somehow be about football. American film producer Freddie Fields and his partner on the film, future Carolco Films co-owner Mario Kassar, would find their story for Escape to Victory in a Hungarian movie from 1961 called Two Halves in Hell. The film was based on a tale of a 1942 football match between German soldiers and their Ukrainian prisoners of war during World War II, known as the Death Match. That film, directed by Zoltán Fábri, would win several awards at film festivals worldwide, and was ripe for the American remake treatment.   However, there would need to be some changes to the story. The action would be moved from Soviet Russia to France, and the character being built for Pelé, Corporal Luis Fernandez, would be identified as being from Trinidad, as Brazil would not enter the European theatre of war until July of 1944.   While the script was being written, Fields and Kassar would get busy putting the film together.   In July 1979, it was announced that Brian Hutton, who had directed two other World War II-set movies, 1968's Where Eagles Dare and 1970's Kelly's Heroes, would helm this new movie, and that Lloyd Bridges was being considered for a role. A writer for Daily Variety reporting on Hutton's hire speculated that Clint Eastwood, who had starred in both Where Eagles Dare and Kelly's Heroes, would also star in the film, but that never happened.   In mid-September 1979, it was announced that legendary French actor Alain Delon would star in the film, and that Hutton had already left the project. Two weeks later, it was announced that two-time Academy Award-winning filmmaker John Huston would direct the project, which would now star Michael Caine and Sylvester Stallone. Amongst the locations Huston scouted to shoot the film at included Austria, Canada, England, Germany, and Ireland, but in the end, they would shoot in and around Budapest, Hungary, because they could shoot the film in the then-communist country for around $12m, versus $30m to $35m it would have cost to shoot in a more democratic country.   On a side note, Stallone ended up coming on to the film in a most unusual way. The actor was looking to buy a beach house in Malibu, and one of the houses he looked at was owned by Freddie Fields. After touring the house, Stallone found Fields sitting on the sundeck, and the actor informed the producer that the house was not quite big enough for himself, his wife and two sons. The two men got to talking, and Fields started to tell Stallone about this sports-based World War II movie he was about to make with John Huston as director. Although Stallone knew almost nothing about football, he was intrigued by the idea of getting to work with a director of Huston's stature. And wouldn't you know it, Fields just happened to have a copy of the script right here. Stallone took the script home, and agreed to be in the film three days later.   Not only would Pelé star in the film alongside Caine and Stallone, he would also work with Huston and the crew to design the football action in the film. Nearly two dozen professional football players, including Bobby Moore, the captain of the World Cup-winning 1966 British football team, would either have major roles in the film or play secondary characters in the film. Another member of that team, goalkeeper Gordon Banks, would assist Pelé in getting Stallone to look more like a goalkeeper on camera.   The movie would also hire Desmond Llewelyn, the beloved British character actor best known as Q in 17 James Bond movies made between 1963 and 1999, as a technical advisor, as Llewelyn had spent five years as a POW in German prison camps during World War II.   In early 1980, Max von Sydow, still shooting his role as Ming the Merciless in Mike Hedges' big screen adaptation of Flash Gordon, would be cast as Von Steiner, the Nazi Major who operates the POW camp.   Shooting would begin on May 26, 1980, after Stallone was done shooting Nighthawks in New York City.  Stallone would spend his weekends off that film to work with Gordon Banks on how to better look like a goalie, and to lose no less than forty pounds to better look like a prisoner of war, a sort of method acting Stallone was not really known for. But apparently, Stallone didn't really listen to Banks at first, as on his first day of shooting, the actor would throw himself around his goal area with a kind of reckless abandon, dislocating his shoulder and breaking a rib. The production would need to rearrange the shooting schedule to give Stallone time to heal. After he returned to the set, he would better heed Banks' advice, although he would end up breaking another rib and, in one scene with Pelé, breaking a finger trying to stop one of the superstar footballer's shots.   Other than Stallone's injuries, production on the film ran rather smoothly for nearly two months, until they were forced to shut production down completely on July 29th, eight days after the American Screen Actors Guild went on strike over residuals from emerging revenue streams like videocassettes and pay television. Since several actors like Stallone were SAG members, they had to stop working on the 21st, and the film completed all shots not using those actors a week later. Although the strike would last for slightly more than three months, Fields and Kassar were able to sign an interim agreement with the Guild to allow the film, which only had five days of shooting left when production was shut down, to resume shooting on August 31st.     Huston would spend the rest of 1980 and the first four months of 1981 working with his production team to get the film edited and ready for release. At the suggestion of Sylvester Stallone, Huston would hire Bill Conti to compose the score, the fifth movie starring Stallone that Conti would write the score to in as many years.   In May 1981, two months before the film's release, its American distributor, announced a slight change in the name of the movie. Instead of Escape to Victory, which would be retained by most every other distributor around the world, the film would simply be called Victory when it hit theatres on July 31st. Because the studio was worried that the full title would be a spoiler. And it actually would be. You'll notice I have not really said anything about the story, because if you haven't seen the movie yet, and you feel compelled to check it out because of this episode, I don't want to spoil it for you. And if you have seen the movie before, you already know what happens.   Victory would face very stiff competition when it opened at 692 theatres on July 31st. In addition to the Chevy Chase comedy Under the Rainbow, the film would go up against a re-release of The Empire Strikes Back and also contend with the continued success of Raiders of the Lost Ark and and Superman II.    The film would gross $2.4m in its first weekend, which would place it sixth on the box office charts, but that was slightly more than a third of what the Star Wars sequel would bring in that weekend, after having initially opened in theatres 14 months earlier. Victory would barely beat Arthur, which was in its third week of release but hadn't become the breakout success it would be in the weeks to come, but it lose out to the critically panned disaster known as John Derek's Tarzan the Ape Man in its second week. But hey, naked Bo Derek on the big screen, even more naked than in 10. Can't blame horny guys at the time for that.   In its second week of release, Victory would drop from sixth place to twelfth, with only $1.6m in ticket sales, and lose half of its screens in its third week, falling to thirteenth place with barely $1m taken in at the box office. After that fourth week, the film was no longer being tracked by Paramount, having earned just $10.85m. Internationally, the film would gross another $16m, since football was a more popular sport outside America. In fact, it was the seventh most popular movie released in 1981, outside of America. The film would barely break even once it was gone from theatres, but it would never become much of a cult film once it was released on videotape and to cable channels.   Although audiences didn't quite go for the movie, critics were rather kind to the film.   Vincent Canby of the New York Times would note that while the form of the film was highly conventional, the manner in which it was executed was not. An unnamed critic for the Hollywood trade publication would call the film “old fashioned,” and meant it as a compliment. And Gavin Bainbridge of the UK movie magazine Empire would highlight how John Huston created enough on-field magic and nostalgia for the game, and would note the kind of sportsmanship shown in the film that had sadly become extinct in the succeeding forty years.   In later years, Huston would admit he hated the idea of the movie and only did it for the paycheck, while Caine would tell one reporter while doing press for another movie that the only reason he made Victory was to meet and work with Pelé. Stallone would admit that shooting his scenes as a goalie were more physically and mentally demanding than on either of the Rocky movies that had been made up to that time.   Of course, Michael Caine and Sylvester Stallone would see far greater successes in their careers as the 80s continued on, while  Pelé pretty much kept future on-screen appearances more rooted in reality, appearing as himself on a few global television shows and movie documentaries.   We're actually planning on a small series for the final decade of John Huston's directing career, with a diverse set of movies that include the musical Annie, the mob comedy Prizzi's Honor, and the lyrical adaptation of James Joyce's The Dead. Look for that to come later this year.   Thank you for joining us. We'll talk again soon, when Episode 100 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Pelé and the movie Victory.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

For our second episode of 2023, we look back, as we did with Neil Diamond's only starring role last week, at the one and only acting role the late, great football star Pelé would ever make: Escape to Victory, a football-themed World War II drama that would also feature Michael Caine, Sylvester Stallone and Max von Sydow.   ----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.   On December 29th, while this show was on hiatus, the football world lost Edson Arantes de Nascimento, the legend known around the world by his single word nickname, Pelé. Even if you weren't a particular fan of football in the 1960s and 1970s, you more than likely knew who Pelé was. The International Olympic Committee named him the Athlete of the Century in 1999. Time Magazine named him one of the 100 most important people of the Twentieth Century. In the Brazilian city of Santos, where a fifteen year old Pelé got his professional start in 1956, a museum dedicated to all things Pelé opened in 2014, with more than 2400 items devoted to his life and careers.   After he retired from football in 1977, in an exhibition game between the New York Cosmos of the North American Soccer League, where Pelé had been playing for three years, and Santos, his former club of nineteen years, Pelé would become a global ambassador for the sport, and record an album of music alongside fellow Brazilian Sergio Mendes to accompany a documentary about his life.   And because this is a podcast about 80s movies, he would, of course, attempt a career in motion pictures.   And those who were going to be responsible for making Pelé a movie star were not going to take any chances.   Because Pelé was the most famous footballer on the planet, the movie was going to somehow be about football. American film producer Freddie Fields and his partner on the film, future Carolco Films co-owner Mario Kassar, would find their story for Escape to Victory in a Hungarian movie from 1961 called Two Halves in Hell. The film was based on a tale of a 1942 football match between German soldiers and their Ukrainian prisoners of war during World War II, known as the Death Match. That film, directed by Zoltán Fábri, would win several awards at film festivals worldwide, and was ripe for the American remake treatment.   However, there would need to be some changes to the story. The action would be moved from Soviet Russia to France, and the character being built for Pelé, Corporal Luis Fernandez, would be identified as being from Trinidad, as Brazil would not enter the European theatre of war until July of 1944.   While the script was being written, Fields and Kassar would get busy putting the film together.   In July 1979, it was announced that Brian Hutton, who had directed two other World War II-set movies, 1968's Where Eagles Dare and 1970's Kelly's Heroes, would helm this new movie, and that Lloyd Bridges was being considered for a role. A writer for Daily Variety reporting on Hutton's hire speculated that Clint Eastwood, who had starred in both Where Eagles Dare and Kelly's Heroes, would also star in the film, but that never happened.   In mid-September 1979, it was announced that legendary French actor Alain Delon would star in the film, and that Hutton had already left the project. Two weeks later, it was announced that two-time Academy Award-winning filmmaker John Huston would direct the project, which would now star Michael Caine and Sylvester Stallone. Amongst the locations Huston scouted to shoot the film at included Austria, Canada, England, Germany, and Ireland, but in the end, they would shoot in and around Budapest, Hungary, because they could shoot the film in the then-communist country for around $12m, versus $30m to $35m it would have cost to shoot in a more democratic country.   On a side note, Stallone ended up coming on to the film in a most unusual way. The actor was looking to buy a beach house in Malibu, and one of the houses he looked at was owned by Freddie Fields. After touring the house, Stallone found Fields sitting on the sundeck, and the actor informed the producer that the house was not quite big enough for himself, his wife and two sons. The two men got to talking, and Fields started to tell Stallone about this sports-based World War II movie he was about to make with John Huston as director. Although Stallone knew almost nothing about football, he was intrigued by the idea of getting to work with a director of Huston's stature. And wouldn't you know it, Fields just happened to have a copy of the script right here. Stallone took the script home, and agreed to be in the film three days later.   Not only would Pelé star in the film alongside Caine and Stallone, he would also work with Huston and the crew to design the football action in the film. Nearly two dozen professional football players, including Bobby Moore, the captain of the World Cup-winning 1966 British football team, would either have major roles in the film or play secondary characters in the film. Another member of that team, goalkeeper Gordon Banks, would assist Pelé in getting Stallone to look more like a goalkeeper on camera.   The movie would also hire Desmond Llewelyn, the beloved British character actor best known as Q in 17 James Bond movies made between 1963 and 1999, as a technical advisor, as Llewelyn had spent five years as a POW in German prison camps during World War II.   In early 1980, Max von Sydow, still shooting his role as Ming the Merciless in Mike Hedges' big screen adaptation of Flash Gordon, would be cast as Von Steiner, the Nazi Major who operates the POW camp.   Shooting would begin on May 26, 1980, after Stallone was done shooting Nighthawks in New York City.  Stallone would spend his weekends off that film to work with Gordon Banks on how to better look like a goalie, and to lose no less than forty pounds to better look like a prisoner of war, a sort of method acting Stallone was not really known for. But apparently, Stallone didn't really listen to Banks at first, as on his first day of shooting, the actor would throw himself around his goal area with a kind of reckless abandon, dislocating his shoulder and breaking a rib. The production would need to rearrange the shooting schedule to give Stallone time to heal. After he returned to the set, he would better heed Banks' advice, although he would end up breaking another rib and, in one scene with Pelé, breaking a finger trying to stop one of the superstar footballer's shots.   Other than Stallone's injuries, production on the film ran rather smoothly for nearly two months, until they were forced to shut production down completely on July 29th, eight days after the American Screen Actors Guild went on strike over residuals from emerging revenue streams like videocassettes and pay television. Since several actors like Stallone were SAG members, they had to stop working on the 21st, and the film completed all shots not using those actors a week later. Although the strike would last for slightly more than three months, Fields and Kassar were able to sign an interim agreement with the Guild to allow the film, which only had five days of shooting left when production was shut down, to resume shooting on August 31st.     Huston would spend the rest of 1980 and the first four months of 1981 working with his production team to get the film edited and ready for release. At the suggestion of Sylvester Stallone, Huston would hire Bill Conti to compose the score, the fifth movie starring Stallone that Conti would write the score to in as many years.   In May 1981, two months before the film's release, its American distributor, announced a slight change in the name of the movie. Instead of Escape to Victory, which would be retained by most every other distributor around the world, the film would simply be called Victory when it hit theatres on July 31st. Because the studio was worried that the full title would be a spoiler. And it actually would be. You'll notice I have not really said anything about the story, because if you haven't seen the movie yet, and you feel compelled to check it out because of this episode, I don't want to spoil it for you. And if you have seen the movie before, you already know what happens.   Victory would face very stiff competition when it opened at 692 theatres on July 31st. In addition to the Chevy Chase comedy Under the Rainbow, the film would go up against a re-release of The Empire Strikes Back and also contend with the continued success of Raiders of the Lost Ark and and Superman II.    The film would gross $2.4m in its first weekend, which would place it sixth on the box office charts, but that was slightly more than a third of what the Star Wars sequel would bring in that weekend, after having initially opened in theatres 14 months earlier. Victory would barely beat Arthur, which was in its third week of release but hadn't become the breakout success it would be in the weeks to come, but it lose out to the critically panned disaster known as John Derek's Tarzan the Ape Man in its second week. But hey, naked Bo Derek on the big screen, even more naked than in 10. Can't blame horny guys at the time for that.   In its second week of release, Victory would drop from sixth place to twelfth, with only $1.6m in ticket sales, and lose half of its screens in its third week, falling to thirteenth place with barely $1m taken in at the box office. After that fourth week, the film was no longer being tracked by Paramount, having earned just $10.85m. Internationally, the film would gross another $16m, since football was a more popular sport outside America. In fact, it was the seventh most popular movie released in 1981, outside of America. The film would barely break even once it was gone from theatres, but it would never become much of a cult film once it was released on videotape and to cable channels.   Although audiences didn't quite go for the movie, critics were rather kind to the film.   Vincent Canby of the New York Times would note that while the form of the film was highly conventional, the manner in which it was executed was not. An unnamed critic for the Hollywood trade publication would call the film “old fashioned,” and meant it as a compliment. And Gavin Bainbridge of the UK movie magazine Empire would highlight how John Huston created enough on-field magic and nostalgia for the game, and would note the kind of sportsmanship shown in the film that had sadly become extinct in the succeeding forty years.   In later years, Huston would admit he hated the idea of the movie and only did it for the paycheck, while Caine would tell one reporter while doing press for another movie that the only reason he made Victory was to meet and work with Pelé. Stallone would admit that shooting his scenes as a goalie were more physically and mentally demanding than on either of the Rocky movies that had been made up to that time.   Of course, Michael Caine and Sylvester Stallone would see far greater successes in their careers as the 80s continued on, while  Pelé pretty much kept future on-screen appearances more rooted in reality, appearing as himself on a few global television shows and movie documentaries.   We're actually planning on a small series for the final decade of John Huston's directing career, with a diverse set of movies that include the musical Annie, the mob comedy Prizzi's Honor, and the lyrical adaptation of James Joyce's The Dead. Look for that to come later this year.   Thank you for joining us. We'll talk again soon, when Episode 100 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Pelé and the movie Victory.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.  

Auguest, a month of amazing guest-hosted episodes, begins! I'd have to be pretty stupid to host a podcast about killing and then kill him the way I described in my podcast. I'd be announcing myself as the killer. I'm not stupid. TW: This episode includes a discussion about a scene which depicts forced sex/sexual assault/rape as well as Sharon Stone's recent revelations that she did not consent to her genitals being shown on screen. It's not just global warming, Verbal Diorama is officially getting hotter, and finally tackling the definitive erotic thriller of the '90s - BASIC INSTINCT! A spec script that Mario Kassar of Carolco paid $3 million for, which became the movie everyone was talking about, but mainly for one infamous scene in particular. Joining me for this sexy investigation is a man who can wield an ice pick like no other. A man who likes rough edges, and a podcaster who falls for the wrong guest appearance. It's Gali from The Rewind Movie Podcast.  Will Gali make it out of the episode alive? Will I charge him with smoking? Will he get off before he gets offed? Or will we f**k like minks, raise rugrats, and live happily ever after? Maybe forget the rugrats... Gali hosts https://rewindmoviecast.com/ (The Rewind Movie Podcast) along with Devlin, Patrick and Matt. You can find their back catalogue of brilliant episodes in your podcast app of choice, and they're on Twitter as https://twitter.com/rewindmoviecast (@rewindmoviecast) I would love to hear your thoughts on Basic Instinct! GET IN TOUCH.... Twitter https://twitter.com/verbaldiorama (@verbaldiorama) Instagram https://www.instagram.com/verbaldiorama (@verbaldiorama) Facebook https://www.facebook.com/verbaldiorama (@verbaldiorama) Letterboxd https://www.facebook.com/verbaldiorama (@verbaldiorama) Email verbaldiorama [at] gmail [dot] com Website https://my.captivate.fm/verbaldiorama.com (verbaldiorama.com) SUPPORT VERBAL DIORAMA.... Give this podcast a five-star https://verbaldiorama.com/rateandreview (Rate & Review) Join the https://verbaldiorama.com/patreon (Patreon) Thank you to all the patrons Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern, Kristin, Cat, Andy, Mike, Griff, Luke, Emily, Michael, Scott, Brendan, Ian M, Lisa, Sam, Will, Jack, Dave, Chris, Stuart, Jason, Ian D, Sunni, Drew, Nicholas, Zo, Kev, Pete and Heather BRAND-NEW https://verbaldiorama.com/merch (Merch) STORE!! T-shirts inspired by The Mummy (1999) with more collections to come! EPISODE THANKS TO.... Gali, for being awesome and coming on! Theme Music: Verbal Diorama Theme Song Music by Chloe Enticott - https://www.facebook.com/watch/Compositionsbychloe/ (Compositions by Chloe ) Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique Studio https://www.captivate.fm/signup?ref=emmcgowan (This podcast is hosted by Captivate, try it yourself for free.) Mentioned in this episode: Paid promotions in this episode This episode contains a paid Patron promotion for Middle Class Film Class, hosted by patron Pete.

127 - Just in time (read: 2 weeks late) for Stallone's 75th birthday, we are hitting Cliffhanger. This is an oft-requested lat pack classic that has been on the list for a while - so here it is! It's another lockdown pod. We might be getting a little loopy. Anyway, hope you enjoy.

Mario Kassar - Loops Radio Mix - Jan 2021 Tracklist: Mario Kassar - Latitude (Original mix) Mario Kassar - My model (Original mix) Mario Kassar - Cloudy Atlas (Original mix) Mario Kassar - Imeretia (Original mix) Mario Kassar - Perfume (Original mix) Mario Kassar - Glyptica (Original mix) Mario Kassar - Multistrada (Original mix) Mario Kassar - Multistrada (Original mix) Mario Kassar - Take care of yourself (Original mix) Mario Kassar - Stress (Original mix) Mario Kassar - Tyrants (Original mix)

MARIO KASSAR is a film producer who specializes in worldwide action-packed blockbusters. He has released 36 motion pictures, which have been nominated for 16 academy awards (winning several of them), and is largely considered to be the godfather of international film distribution and marketing. Kassar served as executive producer of such hits as all of the “Rambo” films, “Terminator 2: Judgement Day,” “Basic Instinct,” “Total Recall,” “Terminator 3: Rise Of The Machines,” “Cliffhanger,” “Chaplin,” and “Stargate,” among others that have grossed more than $3 billion in worldwide theatrical box office.

MARIO KASSAR is a film producer who specializes in worldwide action-packed blockbusters. He has released 36 motion pictures, which have been nominated for 16 academy awards (winning several of them), and is largely considered to be the godfather of international film distribution and marketing. Kassar served as executive producer of such hits as all of the “Rambo” films, “Terminator 2: Judgement Day,” “Basic Instinct,” “Total Recall,” “Terminator 3: Rise Of The Machines,” “Cliffhanger,” “Chaplin,” and “Stargate,” among others that have grossed more than $3 billion in worldwide theatrical box office.

Cette semaine, STEROIDS – LE PODCAST se penche sur une autre suite controversée avec TERMINATOR 3 – LE SOULÈVEMENT DES MACHINES. Une suite méritante certes, mais qui a cependant le gros défaut de ne pas être pensée, écrite et réalisée par James Cameron ! Se désintéressant totalement de la franchise TERMINATOR après l’énorme succès mondial de TITANIC, James Cameron pousse Arnold Schwarzenegger à reprendre son rôle dans une autre suite, à condition qu’il exige un gigantesque cachet auprès de la production. C’est ainsi que les producteurs Andy Vajna et Mario Kassar lui signent un chèque monumental de 30 millions de dollars pour reprendre le rôle du T-800 (ou T-850 ici) dans TERMINATOR 3 – LE SOULÈVEMENT DES MACHINES en 2003. Jonathan Mostow remplace James Cameron derrière la caméra, et le film démarre quelques années après les événements de TERMINATOR 2 – LE JUGEMENT DERNIER. Alors que la fin du monde a Continue Reading

Joe Mark and Chris talk...The Changeling a 1980 Canadian psychological horror film directed by Peter Medak and starring George C. Scott and Trish Van Devere (Scott's real-life wife). The movie's executive producers were Mario Kassar and Andrew Vajna; its screenplay is based upon events that writer Russell Hunter claimed he experienced while he was living in the Henry Treat Rogers mansion in Denver, Colorado

Nachdem wir zu Beginn des CET-Podcasts 2015 die Kult-Filmschmiede CANNON FILMS per Doppelfolge hochleben haben lassen, haben wir uns gedacht, dass es nach über 100 regulären CET-Folgen höchste Zeit wird, mit CAROLCO PICTURES auch das zweite kultig verehrte Studio aus der Videotheken-Hochzeit zu feiern. Aufgrund des unglaublich hohen und vor allem auch interessanten Outputs von Mario Kassar und Andrew Vajna Produktionsstätte teilen wir das Ganze wieder auf zwei Teile auf. In Teil 1 plaudern Florian und Kevin über die Anfänge und den Aufstieg zum unabhängigen Filmstudio während der 80er Jahre, also der sogenannten „Rambo“-Ära. Hierbei rücken die Jungs neben den drei RAMBO-Filmen auch Produktionen wie ANGEL HEART, RED HEAT, DEEP STAR SIX, AUSGELÖSCHT, SIE LEBEN, JOHNNY HANDSOME, WATCHERS und DIE FÜRSTEN DER DUNKELHEIT in den Mittelpunkt. Wir wünschen viel Hörvergnügen und freuen uns über Bewertungen bei iTunes und Soundcloud oder natürlich Feedback in den Kommentaren der „Entertainment Blog“-Facebook-Seite und via Twitter unter @CET_Podcast. PS: Ihr könnt uns auch weiterhin auf Patreon unterstützen :-). www.patreon.com/cineentertainmenttalk Liebe Grüße, Euer Team von www.entertainment-blog.net

Nachdem wir zu Beginn des CET-Podcasts 2015 die Kult-Filmschmiede CANNON FILMS per Doppelfolge hochleben haben lassen, haben wir uns gedacht, dass es nach über 100 regulären CET-Folgen höchste Zeit wird, mit CAROLCO PICTURES auch das zweite kultig verehrte Studio aus der Videotheken-Hochzeit zu feiern. Aufgrund des unglaublich hohen und vor allem auch interessanten Outputs von Mario Kassar und Andrew Vajna Produktionsstätte teilen wir das Ganze wieder auf zwei Teile auf. In Teil 1 plaudern Florian und Kevin über die Anfänge und den Aufstieg zum unabhängigen Filmstudio während der 80er Jahre, also der sogenannten „Rambo“-Ära. Hierbei rücken die Jungs neben den drei RAMBO-Filmen auch Produktionen wie ANGEL HEART, RED HEAT, DEEP STAR SIX, AUSGELÖSCHT, SIE LEBEN, JOHNNY HANDSOME, WATCHERS und DIE FÜRSTEN DER DUNKELHEIT in den Mittelpunkt. Wir wünschen viel Hörvergnügen und freuen uns über Bewertungen bei iTunes und Soundcloud oder natürlich Feedback in den Kommentaren der „Entertainment Blog“-Facebook-Seite und via Twitter unter @CET_Podcast. PS: Ihr könnt uns auch weiterhin auf Patreon unterstützen :-). www.patreon.com/cineentertainmenttalk Liebe Grüße, Euer Team von www.entertainment-blog.net

Tracklist: Mario Kassar - Merovingen Node (Original Mix) Mario Kassar - Cloudy Atlas (Original mix) Mario Kassar - Evil Territory (Original mix) Mario Kassar - Multistrada (Original mix) Mario Kassar - On the Doorstep (Original mix) Beatpunx & Following Light) - Odyssey (Mario Kassar Remix) Mario Kassar - Rumpel (Original Mix) Chris Stoll - Timeless (Mario Kassar Remix) Mario Kassar - BadaBoo (Original Mix) Mario Kassar - Glyptica (Original Mix) Mario Kassar - Perfume (Original mix) Radio events loopsradio.com/events/ Radio Podcast loopsradio.com/podcast-page/ Radio Artists loopsradio.com/artists/ #electronica #playlist #dj #producer #djset #djane #deep #deepprogressive #darkprogressive #progressivehouse #electrohouse #melodichousetechno #melodichouseandtechno #deephouse #techhouse #techno #house #beatport #traxsource #junodownload #loopsradio

Ojo, que hemos escogido tema un minuto y medio antes de empezar el podcast, pero no pasa nada, porque las dos enciclopedias humanas del cine, Víctor Olid y Paco Fox, ESTÁN IN DA HOUSE. ¿De qué va esto? Pues de CAROLCO, la productora de Mario Kassar y Andrew Vajna que lo petó muy fuerte en los 80 y primeros 90 y se descalabró a finales de los 90.

Ojo, que hemos escogido tema un minuto y medio antes de empezar el podcast, pero no pasa nada, porque las dos enciclopedias humanas del cine, Víctor Olid y Paco Fox, ESTÁN IN DA HOUSE. ¿De qué va esto? Pues de CAROLCO, la productora de Mario Kassar y Andrew Vajna que lo petó muy fuerte en los 80 y primeros 90 y se descalabró a finales de los 90. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Hicham Hajji, Director of the film "Redemption Day", shares how he put all his chips on the table and risked everything to direct his movie and also recount numerous stories from his career. Enjoy! Show Notes: 4:33 - What the movie "The Shining" means to Hicham. 7:29 - Celine Dion's music video.  10:20 - Getting the courage to go all in on his film directing.  12:33 - "Be honest with yourself ... " 14:40 - Summary of the movie "Redemption Day" 21:24 - Advice from Nancy Foy. 25:00 - "A passport full of stamps is better than a house ... " 29:45 - Don't stop and listen to every dog that barks.  32:45 - The next movie will be a musical comedy in the EDM world.  35:42 - Guitar lessons.  37:48 - "Stop what you are doing and follow your passion ... " 42:17 - The importance of "Redemption Day" for the Moroccan film community.  45:28 - Advice from Mario Kassar.  Book Recommendations: Elon Musk: Tesla, SpaceX, and the Quest for a Fantastic Future by Ashley Vance Sapiens by Yuval Noah Harari  

VHS Strikes Back E14 Dave and Chris are back reviewing the cult classic First Blood starring Sylvester Stallone. Originally a novel written by David Morrel. Morrell stated he was inspired to write the novel by hearing about the experiences of his students at the University of Iowa who had fought in Vietnam. The author also said "When I started First Blood back in 1968, I was deeply influenced by Geoffrey Household's Rogue Male." The character's name was derived in part from a brand of apples, which his wife brought home while he was struggling to think up a name for the character. In the DVD commentary for 'First Blood' Morell comments that one of the inspirations for Rambo was World War II hero Audie Murphy. Shortly after its publication in 1972, Morrell rights were sold to Columbia pictures, who in turn sold them to Warner Bros. This trend continued for ten years. The story passed through three companies and eighteen screenplays. Finally, it was sold to Andrew G. Vajna and Mario Kassar, who turned the character of Rambo into a more likable underdog who never killed anybody, instead of the angry, psychotic character in the book who goes on a bloody rampage and literally brings the Vietnam War to America. The role was offered to many celebrities like Dustin Hoffman and Al Pacino until it reached Sylvester Stallone. The film was well-received by critics and saved Stallone's career. Plot Summary: John J. Rambo is a former United States Special Forces soldier who fought in Vietnam and won the Congressional Medal of Honor, but his time in Vietnam still haunts him. As he came to Hope, Washington to visit a friend, he was guided out of town by the Sheriff William Teasel who insults Rambo, but what Teasel does not know that his insult angered Rambo to the point where Rambo became violent and was arrested. As he was at the county jail being cleaned, he escapes and goes on a rampage through the forest to try to escape from the sheriffs who want to kill him. Then, as Rambo's commanding officer, Colonel Samuel Trautman tries to save both the Sheriff's department and Rambo before the situation gets out of hand. Rotten Tomatoes Audience Score: 87% IMDB Score: 7.7/10 Metacritic: 61% Email the show at ComicsInMotionPodcast@gmail.com or on Twitter or on our Facebook page. And also check out some of the other independent British Podcasts across at www.britpodscene.com #britpodscene Support the show with our Amazon link. UK listener? You could try out a free 30 day Audible trial and and try out their audiobooks. --- Support this podcast: https://anchor.fm/thevhsstrikesback/support

Following Light heads up our Bonzai Basik Beats radio show this week, dishing out the vibes with a host of quality tunes. Kirill Guk is the man behind Following Light, he has amassed a plethora of labels under his Lincor Family with a top-notch roster covering different genres. On tonight's show you can expect to hear tracks and remixes from Cid Inc, Hernan Cattaneo & Soundexile, Marco K, DJCyberstai, Chris Hobbs, Nekkon, Mario Kassar, Donnerstag, Spanless and more as well as a few choice cuts from Kirill himself. 1º Cid Inc - Via Karelia (Original Mix) 2º Brent Lawson - Cognitive Behaviour (Hernan Cattaneo & Soundexile Remix 2) 3º Beatpunx - Intermediate (Original Mix) 4º Marco K (AU) - Shift (Following Light Remix) 5º Following Light & NeKKoN - Outer Limits (Spanless Remix) 6º D-Nox & Beckers - Polyacid (Navar Remix) 7º MART(FR) - Engele Dance (Following Light Remix) 8º Chris Stoll - Timeless (Mario Kassar Remix) 9º Avasono - Riells (Ziger Remix) 10º DJCybertsai - Etheral Diaphanous (Original Mix) 11º Following Light - Pynchon (donnerstag's Dark Space Remix) 12º Chris Hobbs - Dangerous On Arrival (Original Mix) This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Following Light heads up our Bonzai Basik Beats radio show this week, dishing out the vibes with a host of quality tunes. Kirill Guk is the man behind Following Light, he has amassed a plethora of labels under his Lincor Family with a top-notch roster covering different genres. On tonight’s show you can expect to hear tracks and remixes from Cid Inc, Hernan Cattaneo & Soundexile, Marco K, DJCyberstai, Chris Hobbs, Nekkon, Mario Kassar, Donnerstag, Spanless and more as well as a few choice cuts from Kirill himself. 1º Cid Inc - Via Karelia (Original Mix) 2º Brent Lawson - Cognitive Behaviour (Hernan Cattaneo & Soundexile Remix 2) 3º Beatpunx - Intermediate (Original Mix) 4º Marco K (AU) - Shift (Following Light Remix) 5º Following Light & NeKKoN - Outer Limits (Spanless Remix) 6º D-Nox & Beckers - Polyacid (Navar Remix) 7º MART(FR) - Engele Dance (Following Light Remix) 8º Chris Stoll - Timeless (Mario Kassar Remix) 9º Avasono - Riells (Ziger Remix) 10º DJCybertsai - Etheral Diaphanous (Original Mix) 11º Following Light - Pynchon (donnerstag's Dark Space Remix) 12º Chris Hobbs - Dangerous On Arrival (Original Mix) This show is syndicated & distributed exclusively by Syndicast. If you are a radio station interested in airing the show or would like to distribute your podcast / radio show please register here: https://syndicast.co.uk/distribution/registration

Lisa dan Angga ngobrol dengan sutradara "Foxtrot Six," Randy Korompis, yang membeberkan banyak fakta menarik di balik pembuatan film aksi tersebut. Dengerin episode ini untuk tau cerita perjuangan Randy bikin trailer dengan zero budget sampai akhirnya ketemu produser Hollywood idolanya, Mario Kassar.

Es posible que el nombre de Andrew Vajna no te suene mucho, pero si te digo que junto con Mario Kassar fundó la productora Carolco ya te será más familiar. Gracias a él el género de acción ha tenido títulos como "Rambo" o "Desafío total", pero no sólo de acción vive el hombre porque también han sido producciones suyas "Evita" o "Nixon". El monográfico está dedicado a Vajna, recientemente fallecido, y cuenta con la firma invitada de compañeros de otros podcasts como Cinemasmusic, Espartanos del cine o Remake a los 80. Además en la sesión podrás escuchar las últimas novedades en bandas sonoras, las canciones y temas nominados en los Oscars así como otras secciones habituales como las peticiones o el retrotráiler. Espero que disfrutes de la proyección... Listado de canciones (Puede contener spoilers) Corte Inicial Gremlins Retrotráiler Dominic Frontiere – Rose´s theme - El color de la noche Sesión de bandas sonoras 1. West Dylan Thordson – Checkmate – Glass 2. James Newton Howard – Hand of the fate part 2 – Señales 3. Richard Band – Main title – La novia de Re-Animator 4. James Horner – End credits – Apollo 13 5. Alaska – Abracadabra – La bola de cristal 6. Michel Legrand – Generique - Los paraguas de Cherburgo 7. Michel Legrand – The windmills of your mind – El secreto de Thomas Crown 8. Michel Legrand – Summer of the 42 – Verano del 42 9. Michel Legrand – Theme from Yentl – Yentl 10. Jennifer Hudson – I´ll fight – RBG 11. Willie Watson – When a cowboys trades his spurs for wings – La balada de Buster Scruggs 12. Kendrick Lamar & SZA – All the stars – Black panther 13. Emily Blunt –– El regreso de Mary Poppins 14. Lady Gaga & Bradley Cooper – Shallow – Ha nacido una estrella 15. Nicholas Britell - The children of our age – El blues de Bale street 16. Alexandre Desplat – End credits – Isla de perros 17. Terence Blanchard – Photo opps – Infiltrado en el Kkklan 18. Marc Shaiman – End title suite – El regreso de Mary Poppins 19. Ludwig Göransson – United Nations / End title – Black panther 20. John Powell – Corellia Chase – Han Solo: una historia de Star Wars 21. Jerry Goldsmith – Gremlins rag – Gremlins 22. Brad Fiedel – The Terminator theme - Terminator Peticiones 1. Yoko Shimomura – Kingdom – Kingdom hearts 2. Jerome Moross – Main theme – Horizontes de grandeza 3. Henry Mancini – The sounds of Hatari – Hatari 4. Jerry Goldsmith – The crocodiles – Las minas del rey Salomón 5. Jerry Goldsmith - Camelot Lives – El primer caballero 6. Victor Young – Éxit music – La vuelta al mundo en 80 días 7. James Newton Howard – Visions – El protegido 8. Paolo Buonvino - Father and Daughter - Father and Daughter 9. Jerry Goldsmith – Main title – Star Trek Voyager 10. Dooley Wilson – As time goes by – Casablanca 11. Nobuo Uematsu - Main Theme of Final Fantasy VII - Final Fantasy VII 12. Intimate Strangers - Let Go – Mi diabólico amante 13. Dion - Sea cruise – Las aventuras de Ford Fairlane 14. James Horner - Alfred moves to Helena – Leyenda de pasión 15. James Newton Howard - Fantastic Beasts The Crimes of Grindelwald – Animales fantásticos: Los crímenes de Grindelwald 16. New Order – Confusion – Blade 17. John Williams – Love scene – Drácula 18. Harry Gregson-Williams - Crossing Mars – The martian 19. Phil Collins - Moves Like an Ape, Looks Like a Man – Tarzán 20. Queen – Flash theme – Flash Gordon 21. Queen - Gimme the prize (Kurgan's theme) – Los inmortales 22. Basil Poledouris – Anvil of Cron – Conan el bárbaro 23. Alan Silvestri – The Joes movilize – G.I. Joe 24. Jay Chattaway - Opening / Refugees And Main Titles – Invasión USA 25. Vince DiCola – War – Rocky IV Suite Howard Shore – El señor de los anillos: La comunidad del anillo Monográfico – Andrew Vajna un productor de acción (Comienza a los 266 minutos) 1. Jerry Goldsmith – Carolco logo 2. Rick Wilkins – Main title – Al final de la escalera 3. Bill Conti - Match's Revenge – Evasión o victoria 4. Jerry Goldsmith - First Blood – Acorralado 5. Jerry Goldsmith – Village raid / helicopter flight – Rambo: Acorralado parte II 6. Trevor Jones – Johnny favorite - El corazón del ángel 7. Jerry Goldsmith – Arrivals – Traición sin límites 8. Jerry Goldsmith - Final battle – Rambo III 9. Harry Manfredini - Deepstar Six – Profundidad 6 10. James Horner - End Credit – Danko: calor rojo 11. Ry Cooder - Main Theme – Johnny el guapo 12. Michael Small - Main Title – Montañas de la Luna 13. Jerry Goldsmith – Dream – Desafío total 14. Charles Gross - Air America – Air América 15. Bruce Broughton - Theme from Narrow Margin – Acción judicial 16. Maurice Jarre - Jacob's Ladder – La escalera de Jacob 17. Jerry Goldsmith - The Trees – Al este del edén 18. Bruce Broughton - Prologue / Main Title / And Hell Followed – Tombstone: la leyenda de Wyatt Earp 19. Michael Kamen - Bank Invasion – Jungla de cristal: la venganza 20. Alan Silvestri - Main Title (Revised) - Judge Dredd 21. John Barry - End Title – La letra escarlata 22. John Williams - Main Title... The White House Gate – Nixon 23. Madonna - Don't cry for me Argentina – Evita 24. Bruce Broughton - To the White House (Main Title) – Conspiración en la sombra 25. Jerry Goldsmith – Valhalla / Viking Victory – El guerrero número 13 26. Marco Beltrami – T3 – Terminator 3: la rebelión de las máquinas 27. John Murphy - 120 MPH Sex (Main Title) – Instinto básico 2: Adicción al riesgo 28. Danny Elfman – Opening – Terminator salvation 29. Jerry Goldsmith - Home Flight – Rambo: Acorralado parte II Despedida Vangelis – 1492: La conquista del paraíso - Nocturna @AcomodadorEl www.elacomodador.es

Alors qu'on avait ouvert l'aventure VHS & CANAPE sur un podcast consacré à la CANNON, la Team VHS se décide enfin à se rassembler pour un podcast fleuve sur une autre firme culte... la CAROLCO !De la rencontre de Mario Kassar et Andrew Vajna à la chute vertigineuse de cette société qui a marqué de nombreux bourrinos, VHS & CANAPE vous raconte tout... et même un peu plus ! 4H24 d'émission avec en guest Sylvester Stallone, Arnold Schwarzenegger, Jean-Claude Van Damme, Dolph Lundgren, Mickey Rourke, Walter Hill, Renny Harlin, Paul Verhoeven et... Jackie Sardou ! Ce nouveau numéro est dédié à la mémoire de Andrew Vajna décédé quelques jours après l'enregistrement... On espère que ce podcast fera honneur à sa superbe carrière ! Bonne écoute et à bientôt les bourrinos.

Alors qu'on avait ouvert l'aventure VHS & CANAPE sur un podcast consacré à la CANNON, la Team VHS se décide enfin à se rassembler pour un podcast fleuve sur une autre firme culte... la CAROLCO ! De la rencontre de Mario Kassar et Andrew Vajna à la chute vértigineuse de cette société qui a marqué de nombreux bourrinos, VHS & CANAPE vous raconte tout... et même un peu plus ! 4H24 d'émission avec en guest Sylvester Stallone, Arnold Schwarzenegger, Jean-Claude Van Damme, Dolph Lundgren, Mickey Rourke, Walter Hill, Renny Harlin, Paul Verhoeven et... Jackie Sardou ! Ce nouveau numéro est dédié à la mémoire de Andrew Vajna décédé quelques jours après l'enregistrement... On espère que ce podcast fera honneur à sa superbe carrière ! Bonne écoute et à bientôt les bourrinos.

Har du gitt opp når du får et nei? Eller mistet motivasjonen og gjort noe annet fremfor det du ville på grunn av et nei? Dagens gjest ler når han får et nei og sier at nei er det beste han vet. Han er mer glad i ordet nei enn ja og på mange måter har gleden over ordet nei vært en av suksess nøklene til hans karriere. Han lovet seg selv at han skulle bo ved sjøen om det så var i et telt og med det som enn av sine største motivasjonsfaktorer står han opp hver eneste morgen og gir seg selv et spark i baken på hvordan beholde sjøutsikten. Dagens gjest er Barry Katz som er kjent for å introdusere Hollywood til noen av de mest ekstraordinære standup artistene i verden, inkludert Dave Chappelle, Jay Mohr, Anthony Clark, Bill Burr, Wanda Sykes, Nick Swardson, Dane Cook, Tracy Morgan, Frank Caliendo, Darrell Hammond, Whitney Cummings, og Louie CK. Katz startet sin karriere med ambisjoner om å være en stand-up komiker i Beantown. På slutten av 80-tallet og tidlig på 90-tallet bestemte han seg for å slutte og flytte til New York City, og åpnet Boston Comedy Club i hjertet av Greenwich Village. Samtidig startet han sitt eget management selskap og landet umiddelbart 4 klienter på Saturday Night Live. Dette ga ham tilliten til å utvide sin operasjon til Los Angeles, hvor han kort tid etter signerte en 4 års executive-produsent avtale med Disney for å utvikle tv-programmer. Etter 15 vellykkede år ved roret i sitt eget selskap, slo Katz i 2003 sin virksomhet sammen med New Wave Entertainment, og bidro de neste 8 årene til å bygge det til et respektert full service talent management, digital distribusjon og TV / film produksjon selskap med over 25 ledere, produsenter og utviklingsledere. Ved utgangen av 2011 forlot Katz NWE for å gå tilbake til og drive eget selskap igjen, denne gangen under banneret til Barry Katz Entertainment. I fjernsynsverdenen har han enestående formidlet over 100 TV-utviklingspakker i løpet av sin karriere, mens han har skapt tre TV-serier selv (ABCs Next Best Thing, NESNs Komedie All-Stars, og FOX- Naked But Funny) I tillegg har han vært executive produsent for over 50 TV stand-up specials, documentaries, reality & scripted series including NBC'S Whitney, Fox's Action, HBO's Tourgasm, Showtime's Brad Williams: Fun Size and Daddy Issues, History Channel's Houdini: Unlocking the Mystery, Comedy Central's Christopher Titus: Neverlution, TBS's Frank TV, the syndicated Bill Bellamy/Tim Meadows/Jon Lovitz/Vivica Fox sitcom Mr. Box Office, og 7 sesonger av den Emmy nominerte NBC serien Last Comic Standing. I innspillingsverden ble Katz nominert til en Grammy-pris for å produsere Jay Mohrs siste album inkludert alle Cooks bibliotek som har fått gull, platina og dobbelt platina, den eneste artisten som debuterte et komediealbum i topp 5 av Billboards nasjonale lister-to ganger. Industry Standard er Barrys siste prosjekt. Det er en helt unik podcast der han prater med gjester som David Copperfield,  Doug Herzog (Presidenten for Viacom Entertainment), Eric Tannenbaum (tidligere President for Columbia-Tri-Star TV and executive producer of Two and a Half Men), Warren Littlefield (tidligere styreforman for NBC/Executive Producer av Fargo), , Mario Kassar (producer av Terminator 2, Rambo, Basic Instinct), Susanne Daniels (tidligere President for MTV, the WB, and Lifetime), Tom Werner (producer av Roseanne, 3rd Rock from the Sun, That 70's Show) Steve Levitan (creator av Modern Family), Garry Marshall (Creator av Happy Days/Laverne og Shirley & director/producer of Runaway Bride/Pretty Woman),  Dr Phil (# 1 daytime talk show host in syndication) og mange mange flere. Vi er innom: Starten til Bill Burr (En av verdens beste standup komikere) Faith (skjebnen) Medfødte evner Snu nei til ja Fire personer på Saturdaynight Live før jeg visste hva jeg drev med Shorts, Cowboystøvler og hestehale ned til skinka. Kun 1% gjør deg til verdens største stjerne 100 nei Hvor mange ganger du har feilet har ingen betydning. Favoritt forhandlingsteknikk Arbeidsmoral og mentalstyrke Dave Chapell, Louie CK og Tracy Morgan 6 Sans Industry Standard Caitlyn Jenner (Tidligere Bruce Jenner) Patty Jenkins (Damen bak filmen Monster) " I killed JFK" James Files Kennedy og Trump til felles Den som jobber hardest Sjøutsikt uansett om det er i telt! San Omega (Rabattkode MTFrank for 10%)

Iniciamos nuestra segunda temporada con una guía homenaje de lo que fue la mastodóntica productora Carolco formada por Mario Kassar y Andrew G. Vajna, una forma de producir y rodar cine que nunca volverá. Con resultados variopintos pero con muestras de talento y entretenimiento sin igual como La saga Rambo, Terminator 2, Instinto Básico o Stargate y su canto de cisne La Isla de las Cabezas Cortadas. Sus peculiares fundadores, su marketing abrumador, su poderio para pagar estrellas y comprar guiones y su no reparar en gastos. Repasaremos su filmografia y nos retrotaemos a una epoca de amor por el cine "bigger than life". Cuidadosos de sus compositores musicales nos acompañaran en el recorrido Jerry Goldsmith, David Arnold, o John Debney. Nos atrevemos incluso a recitar a Rambo o escuchar musica psicotrónica de Showgirls. ¡Bienvenidos a Carolco Pictures, amor por el cine!

Action Movie Anatomy hosts Ben Bateman and Andrew Ghai break down Terminator 2 getting ready for the Terminator Genisys premiere! Theme song by NikoMakaris.com Terminator 2: Judgment Day (also referred to as simply Terminator 2 or T2) is a 1991 American science fiction actionfilm co-written, produced and directed by James Cameron. The film stars Arnold Schwarzenegger, Linda Hamilton, Robert Patrick and Edward Furlong. It is the second installment of the Terminator franchise and the sequel to the 1984 film The Terminator. Terminator 2 follows Sarah Connor (Hamilton) and her ten-year-old son John (Furlong) as they are pursued by a new, more advanced Terminator, the liquid metal, shapeshifting T-1000 (Patrick), sent back in time to kill John Connor and prevent him from becoming the leader of the human resistance. A second, less advanced Terminator (Schwarzenegger) is also sent back in time to protect John. After a troubled pre-production characterized by legal disputes, Mario Kassar of --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

THIS WEEK, we’re doing things a little differently.Unfortunately, this week’s episode is NOT the kind that you can listen to in the car on the way to work.For some end-of-2014 fun, we’re going to watch (not discuss, WATCH) one of our favorite movies.  Get your iPod, laptop, dvd, netflix, whatever, and bring up TERMINATOR 2: JUDGEMENT DAY.  It’s movie commentary time.  A full explanation of how/why we came to this decision for this week's episode can be found at the end of this week's PREGAME.Ready to play?What you’ll want to do is sync up our episode with your movie.  To do this: Start your copy of TERMINATOR 2 (as of this release, it is available on Netflix).  You’ll see the TriStar logo, and then the Carolco logo.   After the Carolco logo, you will see a black screen. As soon as the name MARIO KASSAR appears, PAUSE your movie.  Start MASS MOVIECIDE #202 (if you’re ready for the movie, skip to about the 4min30second mark)When Brendan does the countdown and says “Play”, un-pause your movie, and enjoy listening to three knuckleheads talk throughout the entire film.  It’s the modern movie-theater experience right in the comfort of your own home.TERMINATOR 2: JUDGEMENT DAY is directed by James Cameron and stars Arnold Schwarzenegger, Linda Hamilton, Eddie Furlong, and Robert Patrick.  Oh, and it ROCKS.

MARIO KASSAR is a film producer who specializes in worldwide action-packed blockbusters. He has released 36 motion pictures, which have been nominated for 16 academy awards (winning several of them), and is largely considered to be the godfather of international film distribution and marketing.  Kassar served as executive producer of such hits as all of the “Rambo” films, “Terminator 2: Judgement Day,” “Basic Instinct,” “Total Recall,” “Terminator 3: Rise Of The Machines,” “Cliffhanger,” “Chaplin,” and “Stargate,” among others that have grossed more than $3 billion in worldwide theatrical box office.

Nuestra aerolínea ha contado con jefes derrochadores, de aquellos que a los 0,7 milisegundos de abrir una empresa al nombre de su mujer ya se habían comprado un Porsche Cayenne para fardar por las calles de su municipio. Pero siguiendo con nuestro clásico Hitler era peor, nos alivia saber que otros empresarios fueron peores antes que nuestros jefes. Carolco Pictures, la todopoderosa productora fundada por Andy Vajna y Mario Kassar nos dio horas y horas de carísimo entretenimiento cinematográfico durante los ochenta y parte de los noventa hasta que murió sepultada bajo sus astronómicas deudas. Para que la historia no se vuelva a repetir, les contamos sus andanzas en este podcast de 130 minuten. El Sr VCR trae testimonios, anécdotas y proyectos fallidos, Vicente Vegas los duros y fríos datos económicos y Wally Week la animación y la ametralladora de chascarrillos en modo full-auto. Descubran que relación tiene Kassar con las pistolas Nerf, que parte del conglomerado Carolco se llevó Schwarzenegger en la maleta y a que actor catalán nos recuerda Paul Verhoeven. Todo con nuestro rigor calumnioso habitual.

Nuestra aerolínea ha contado con jefes derrochadores, de aquellos que a los 0,7 milisegundos de abrir una empresa al nombre de su mujer ya se habían comprado un Porsche Cayenne para fardar por las calles de su municipio. Pero siguiendo con nuestro clásico Hitler era peor, nos alivia saber que otros empresarios fueron peores antes que nuestros jefes. Carolco Pictures, la todopoderosa productora fundada por Andy Vajna y Mario Kassar nos dio horas y horas de carísimo entretenimiento cinematográfico durante los ochenta y parte de los noventa hasta que murió sepultada bajo sus astronómicas deudas. Para que la historia no se vuelva a repetir, les contamos sus andanzas en este podcast de 130 minuten. El Sr VCR trae testimonios, anécdotas y proyectos fallidos, Vicente Vegas los duros y fríos datos económicos y Wally Week la animación y la ametralladora de chascarrillos en modo full-auto. Descubran que relación tiene Kassar con las pistolas Nerf, que parte del conglomerado Carolco se llevó Schwarzenegger en la maleta y a que actor catalán nos recuerda Paul Verhoeven. Todo con nuestro rigor calumnioso habitual.