Podcasts about mashit

Ryuhei Kitamura is a Japanese director of such movies as Versus, Clive Barker's Midnight Meat Train, No One Lives, Downrange, and the Mashit segment of Nightmare Cinema. Ryuhei's director origin story is pretty inspiring - when making his feature debut, Versus, he went through a brutal series of hardships but still managed to pull off an extremely impressive movie, loaded with highly complex zombie fight sequences and gore gags.  One of the things that stands out in Ryuhei's career history is his relentlessness. Throughout his career, a multitude of things kept not working out, but he relentlessly pushed on and on until he became the director he is today. Overall, Ryuhei's story is a true tale of pioneering filmmaking, and he claims that one of the main things that got him through the challenges was his Samurai spirit, which we hear more about, as well as very entertaining stories about how much boldness can pay off as well as details about Ryuhei's collaboration with Clive Barker. All of this and so much more on this episode of The Nick Taylor Horror Show.  Here are some key takeaways from this conversation with Ryuhei:  Blame yourself. At his lowest point, when nothing was working out and Ryuhei could have blamed producers, actors, and the Hollywood system Ryuhei instead blamed himself. This was actually an act of self-empowerment, which enabled him to pull himself up by his bootstraps and make things happen because he knew nobody was coming to save him. When things go wrong, it's human nature to find things to blame it on, but instead, Ryuhei's story is a reminder to take full responsibility. Hollywood is a fickle beast, loaded with liars, sharks, and parasites. When the chips are down, take the blows, learn the lessons, get back up, and take ownership of all of it. The system owes you nothing; you have to fight for every inch you get.    Be willing to throw it all away. This is an extremely hard lesson, but on Versus, after spending tens of thousands of dollars that he raised from friends and family, Ryuhei looked at what he had shot and realized it wasn't good enough. This led him to scrap 80% of the footage he spent months on grueling sets shooting. This is heartbreaking but an inevitable part of the journey. Yes, your material will never be perfect, but regardless of how hard you work on something or how much money you spent on it if the quality isn't there, it's time to scrap it and start over. You'll have to live with each and every frame of your movie for your entire life, so you really can't afford to put out anything that you're not happy with.    Make outrageous demands, and you'll be surprised how often you get what you want. After talking to enough directors, I realized that movies are made up of a bunch of mini-miracles, and you have to believe they're possible first. After shooting Versus on a shoestring budget, Ryuhei boldly approached one of the top editors in Japan and asked him to edit his movie for free. The guy laughed at him at first, but Ryuhei's conviction persuaded him to do it. This substantially boosted the quality of Versus and put Ryuhei on the map, and he was eventually able to pay the guy back. To make a movie is literally to do the impossible with limited time and on a limited budget; often, the only thing that will get your movie made properly is your own boldness and determination to make the impossible possible. This means you have to be bold and make some preposterously outrageous demands, and when you do, you may be surprised how often people say yes. Despite the fact that Hollywood can be rough, don't forget there are angels as well as demons. You'd be surprised at how often people in the industry want to help filmmakers out because they all know how difficult the job is. This is both a matter of getting out of your comfort zone and also believing in the power of possibility. So if you identify an opportunity like this, ask for it, the worst they can do is say no.       ----- Produced by Simpler Media

Hi everyone! Welcome back for another review. It took some negotiations mediated by One Movie Spouse, but we’re allowing Shane Hyde to return to the podcast with a new series of reviews covering contemporary horror films. We figured it was the best place to put him after his extensive role in Reign of Terror 2019. Expect to see Shane around here a lot more often in the coming weeks, and especially next year, starting with today’s review of a critical darling. Although, he proves results may vary. And for a few other reviews form Shane, check out “Polar” (Episode #412), “They Shall Not Grow Old” (Episode #426), and the collaboration that inspired part of Reign of Terror 2019 during his review for “Starship Troopers” (Episode #447). Before the review, we’ll have a promo from our friends at the Donna Martin Graduates podcast. Every episode, Kelly Senatra breaks down an episode of the pop-culture sensation, “Beverly Hills 90210”. Subscribe and get caught up as they continue their journey through season one. And definitely check out their guest appearance for Reign of Terror 2019 in Episode #599, with her review of “Scream 2”. You can find them Twitter @graduatesdonna, Facebook @donnamartingraduatespodcast, and Instagram @donnamartingraduates90210. Subscribe to stay current with the latest releases. Contribute at Patreon for exclusive content. Connect with us over social media to continue the conversation. Here we go! ///// > ///// Kia Ora! I’m Shane. When I’m not the villain of the podcast, I’m also providing some really late reviews for your listening pleasure. Apologies to Joe.  Today’s movie is “Nightmare Cinema”, 2018’s horror anthology film, all tied together around a loose premise of people being bought together in a cinema to view their worst fears. And there are some names attached here! There’s Mickey Rourke, John Chamberlain, Elizabeth Reaser (who’s from “The Haunting of Hill House”, you’ll know her when you see her), David Slade, and even frickin’ Joe Dante of “The Howling”! But, like all recipes, the whole isn’t necessarily the sum of its parts. Shall we take a look? And there will be spoilers ahead. Warning you now. Now first up, I’m not going to say I wasn’t entertained. I really was. Of the segments, ‘The Thing in the Woods’ was almost comical in the way it satirized the slasher genre, and then knocked that on its ear with ‘Alien Spiders’ of all things. ‘Mashit’ tried to take itself a little seriously, but with some dodgy green screen, and some questionably hilarious special effects, it let itself down somewhat. And while watching that, I couldn’t help but think of what was an homage (homage?) to Peter Jackson’s “Brain Dead”, or “Dead Alive” as its known in the United States. For me, the best segment was the middle one: “This Way to Egress”. It was effectively filmed in black and white, which left you questioning reality or sanity in a similar manner to say, 2006’s “Silent Hill”. This segment I LOVED! It was directed by David Slade and starred Elizabeth Reaser from “The Haunting of Hill House”. It was quick, to the point, and conveyed the horror of lost control so demonstrably. Yeah, the mood was something else. A lot of what we see here, though, can be seen in last year’s “Twilight Zone” or “Channel Zero” or “Two Sentence Horror Stories”, all of which are just as effective as this film. But, as it’s a film, we do need to touch on the connective tissue. The cinema, the projectionist, because this is where the film was at its weakest. A segment would start with the protagonist seeing their name up in lights outside the cinema, walk on in, and then be shown their worst fears. The Projectionist didn’t even appear until halfway through the film – and Mickey Rourke was terribly, terribly underutilized. 2018’s “Nightmare Cinema” felt a little more like a showpiece. Like someone saying, ‘Look at what we can bring together!’ with the cinema component being something of an afterthought. But don’t take that as me crapping on it, I’m really not. From the campy humour of “The Thing in the Woods” to the existential dread of “This Way for Egress”, and even the wackiness of “Mashit”, it has a bit for everyone. Rotten Tomatoes: 77% (CERTIFIED FRESH) Metacritic: 60 One Movie Punch: 7.0/10 “Nightmare Cinema” is like a bag of jelly-beans. Someone will find something they like and leave me with the black ones, because clearly black jellybeans are the best. “Nightmare Cinema” is likely available on most streaming services. And that’s it from me. Be kind to one another and I’ll be back in a week with another review. I really do have to ask: How hard can it be to see at nighttime wearing a welding mask?

Back in 2007, Kid Kameleon dropped an excellent pair of mixes for Spannered and Mashit exploring, as he put it, 'the weirder end of the dubstep spectrum'.   Well, Matt's racked up another double-drop of current picks from the bass music panoramic, with the first installment landing here on Spannered and part two surfacing over at the Mashit camp. As with Aim High/Aim Low, the Kid eschews clubland's big hitters in favour of the fringe elements, packing out both new mixes with some super-deep dubstep/techno hybrids and plenty of mutant 2-step stylings.   Tracklisting: Invasion Vs Shackleton - Wizards In Dub Part 1 Martyn - Is This Insanity ft Spaceape (Ben Klock mix) Teleseen - Black Monday feat. Jah Sight Hizatron - Telescope Dope Deadboy - Brock Lee Riddim xxxy - Blue Flashing Lights Instra:mental - Forbidden Al Tourettes - Dodgem Planetary Assualt Systems - X Speaks To X (Al Tourettes & Appleblim remix) Millie & Andrea - Black Hammer Kontext - Convex Curved Mirror Sigha - Hold Your Heart Up To The Light Wedge & Aesoteric - Detached Reality LV - Kowton Metronome (LV Rmx) Untold - Beacon (W/D Franklin) Scuba - Poppies (Substance dub version) ^ Check part two over on the Mashit site ^ Listen to Kid Kameleon's Aim Low on Spannered here

'Mutating bass beats are infecting the planet!!!', writes DJ Flack of his sick new mix for Radio Spannered.   Antony Flackett, aka DJ Flack, is a DJ, producer and multimedia artist living in the Boston area. Together with Wayne 'Wayne and Wax' Marshall, Antony co-hosts the genre-mashing Beat Research parties in Cambridge, Massachusetts — a weekly colision of wobbly world flavours taking in dubstep, 2-step, bhangra, grime, jungle, bashment, hip hop and ragga. As a recording artist he has released music on Mashit, Bliss and Beat Research's own label project; he also performs alongside Mashit head honcho DJ C as DuoTone.   Here he blazes across continents with a 43-minute mix of his current bassline fixes. Take it away DJ Flack!   Tracklisting: Let Go Mi Shirt — Cotti (Brixton) Konichiwa Bitches — Robyn (Sweden) On My Way Home — Unkle Ho (Sydney) Sugarlips — Mad EP (Worcester, UK) Fear — DJ Q (Huddersfield, UK) Trust Nobody — SP:MC (London) Dum Maro Dum (original) — Asha Bhosle (Mumbai) Dum Maro Dum (remix) — Asha Bhosle (Mumbai) The Original Jamaican — Daleduro (Buenos Aires) Mi Confesion (Edu K Remix) — Gotan Project (Paris/Rio) No S+S Dubplate — Kid Did (Boston) Riffin on a Bassline — DJ Flack (Boston) Spark This — Sosolimited (Boston) Desocupacion Instrumental — DJ Nim (Argentina) Ill Behaviour — Deepsix (Toronoto) Ondtu Riddim — DJ C (Chicago) Kingfisher — RSD (Bristol) Might Be (Remix) — Dexplicit (London) Deep Under — Elemental (London) Lost Luggage — DeadBeat (Montreal) Scientifical Dub — DJ Flack (Boston) Plate — Scuba (Berlin) De Daaroo — Surinder / Mentor (London) Bona Vida — Cauto (Barcelona) Lot's Wife — Fosforo (Los Angeles) Silk Parachutes — DJ Flack (Boston)

Ever since Spannered launched, we've been clammoring for Kid Kameleon to put together a mix for the site, and finally it's here. Well, it's half here, in fact: Aim Low is one part of a dual mix release from the Kid — a pair of selections representing 'the weird end of dubstep' while giving plenty of props to up-and-coming artists, he tells us. The other half, Aim High, is hosted by our good friends over at the Mashit site — and while you're there, take plenty of time to check out the spread of mixes and other great stuff on offer.   Big up Inkcore for the cool artwork!   Tracklisting: Boxcutter — Windfall (Planet Mu) Clouds — Shallow (Dub) Blackdown & Dusk — Northside Cheng Dub (Keysound) Flippo — Rain (Dub) Reform — Untitled (Dub) Secret Agent Gel — Banker (Dub) Sky City Rising — Glock Box (Broklyn Beats) Sarantis — Why Dem Fight ft. Bunnington Judah (Subsonik) Distance — Tuning (Planet Mu) Loefah — Disko Rekah (Deep Medi Musik) Tes La Rok — Cold Blooded (Dub) Massive Music — Find My Way [Kode 9 Rmx] (Hyperdub) DZ — Slums Dub (Hot Flush) Elemental — Bleep (Pitch Black) Burial — Homeless (Hyperdub) Ramadanman — Every Next Day (Soul Jazz) 6Blocc — Creal (Lo Dubs) Appleblim — Gold and Silver (Skull Disco) Shackleton — New Dawn (Skull Disco) Bombaman — Rise Against (Lo Dubs) Cult of the 13th Hour — Wickedness (Soul Jazz) Dhruva & Sharmaji — Koli Stance (Sub Swara Dub) Matty G — 50,000 Watts [Loefah Rmx] (Argon) Alchemyst — Biorythms (Dub) Saviour — Stampede (Dub) Alchemyst — Kilik (Dub) Ghislain Poirier — Blazin ft. Face-T [Starkey Rmx] (Slit Jockey Dub) Pinch — Get Up ft. Yolanda (Techtonic) Rustie — Fin Remix (Dub) Babylon System — Dancing Shoes (Argon) Flat Fizzle — In Da Air (Dub) DLX — You Wan Dead (Steps in Time) Cat Power — Moonshiner [Exillon Rmx] (Dub) Moving Ninja — Alien (Dub) El Carnicero — Northgate Riddim ft. Tiny Bee (Slit Jockey) ^ Aim High, the accompanying part of this mix, is available over at the Mashit site.

Episode 15 comes from DJ FLACK - an hour long blending of dub, hip-hop, rock, dancehall, dubstep, southern bounce, punk, baltimore breaks, bhangra, jungle etc etc... full track list at www.djflack.com/smurfmix.html. Info at http://www.riddimmethod.net

Tracklisting: All Stars — Bye Bye Blues (from Jazz w Polsce 1 - Poczatki 1950-1960) Alexandroid — Debil (False Starts) Vera Ward Hall — Poor Lazarus (Deep River of Song: Alabama: From Lullabies to Blues) An-shu — Sex and Death (Every Monkey Is a Star) Nettle — Grit remixed by DJ /rupture Featuring Jenny Jones (Soot) Slepcy with Charles Bukowski — On The Ride (Cock Rock Disco 2006 free compilation) Dr Who Dat — B-Boy Portrait in Spain (Lex Records) 3rd Party — The Hollow Moment Catalogue (Museum Records) The Lucky Dragons — New Homes (Dark Falcon) Miss Pickle — Hoff Boy Fredo Viola — The Sad Song (Because) Melodium — My Xylophone Loves Me (Autres Directions) TD Lind — Let's get lost (Come in from the Cold) Chubby Parker — King Kong Kitchie Kitchie Ki-Me-O (Anthology of American Folk Music (1-A) ed. by Harry Smith) Spank Rock — What It Look Like (A capella) (Big Dada) vs Bob Dylan — Nashville Skyline (Tom Bear's stretching it a bit mix) Wayne and Wax — A it dat (A capella) (Mashit) vs Dempsey Jacks — Pig Ankle Rag (Tom Bear's stretching it a bit mix) Normal Position — Pots of Spank (Deep Water Recordings) Mouse on Mars — Pinwheel Herman (Sonig) Shex — Document 631 (19-t compilation "Apa") Bass Clef — One Hundred Point Four (Unreleased) Pope Thermador — Selassie On The Wye (Unreleased) Chevron — Rick Stein's Babyliss Pancake (Planet Mu/Wrong Music) Doddodo — Waltz Core (Adaadat) + samples from all over the shop   Would you like us to feature one of your tracks in a forthcoming Oddcast? Perhaps you're not happy with us using one of your tracks and you'd like to give us a bollocking. Perhaps, after hearing the first one, you think a gnat could put a more interesting selection together... Whatever, we'd really love to hear from you. ^ You can listen to Spannered's June 07 Oddcast here ^ You can listen to Spannered's Brazilian Oddcast here