Podcasts about My Left Foot

Nobody thought we could do it but we made it through our next 9 random movies! In this episode we look back at what sticks out in our withered memories of the movies we have put ourselves through: Robocop, Paths of Glory, The Lost Weekend, Them!, Face/Off, The Parallax View, AVPR: Aliens v Predator: Requiem, My Left Foot, and The Wrong Man . How did we feel about them in retrospect and with hindsight in our rear view mirror? Listen on and find out!

Today Emmy-winning actor Patricia Heaton joins us for a candid conversation on motherhood, career, and raising four boys. We talk about the pressure parents feel to over-schedule kids, the beauty of simplicity (just give them a cardboard box!), and how God ordered her journey through motherhood and acting.  She and her husband, David Hunt, are in the business of producing movies and directed Unexpected, a film about the emotional ups and downs of infertility. Patricia believes that the best way into tough subjects is through comedy and this movie does just that. Stick around till the end where she shares her advice for helping four boys flourish -including her list of things to do as a family. Connect with Patricia Heaton:  Website:  Home - Patricia Heaton Facebook: Patricia Heaton Instagram:  Patricia Heaton (@patriciaheaton) Links Mentioned:   Unexpected–Stream on Amazon Prime Everybody Loves Raymond (TV Series 1996–2005)  The Middle (TV Series 2009–2018) Warhammer Ordinary People (1980) On the Waterfront (1954) My Left Foot (1989)  Amazing Grace (2006) Mastermedia International – Serving the media industry as a trusted voice of faith.  Related Episodes: Summer Movie Edition (Inside Out, Tomorrowland) :: Family Movie Moms {Ep 79} Annie, Into the Woods, and Night at the Museum 3 :: Family Movie Moms {Ep 53} Moms and the Best Christmas Pageant Ever :: Dallas and Amanda Jenkins [Ep 501] Featured Sponsors:  Remi: No waiting rooms. No overpriced bills. Just a better way to protect your teeth while you sleep. ○ Try Remi risk-free at shopremi.com/DMA and use CODE DMA to get up to 50% off your nightguard at checkout. Pair Eyewear: See the world with fresh eyes. Go to paireyewear.com and use the code DONTMOM for 15% off your first pair. Support the show by mentioning Don't Mom Alone sent you in the post-checkout survey! Hiya Health: We've worked out a special deal with Hiya for their best selling children's vitamin. Receive 50% off your first order. To claim this deal you must go to hiyahealth.com/DMA. This deal is not available on their regular website. Go to H-I-Y-A-H-E-A-L-T-H dot com slash D-M-A and get your kids the full-body nourishment they need to grow into healthy adults. Find links to this week's sponsors and unique promo codes at dontmomalone.com/sponsors. 

Des and I discuss operating a remote head through an eyepiece, working with Tim Burton, Beetlejuice 1 and 2, My Left Foot, and so much more. Des' IMDB For more links, pics and videos, check out the page for this episode on The Op. Please check us out on the web and instagram and like us if you enjoyed the episode. Theme Music - Tatyana Richaud Theme Mix - Charles Papert

Award-winning Massachusetts author Jeffrey Feingold will see his third short story collection published this fall. A FINE MADNESS - AND OTHER MAD STORIES (MFT Press) is a combination of literary realism and magical realism that crosses over, at times, into the surreal. What binds it all together, though, is the humor. We read "My Left Foot" from his first book, The Black Hole Pastrami.https://jeffreymfeingold.com/Support the show

13. Macbeth in Monaghan - Sample Answer -A comparative study highlightiing the cultural contexts of Shakespeare's Macbeth, Arthur Miller's Death of a Salesman and Jim Sheridan's My Left Foot

Welcome to the Instant Trivia podcast episode 1117, where we ask the best trivia on the Internet. Round 1. Category: Forget U 1: Forget the "U" in this synonym for "abode" and you get this stocking. house and hose. 2: Drop the "U" from this float used to mark a navigational channel to get this male word. buoy and boy. 3: Dropping the "U" from this synonym for "leap" gives you this uniting force. bound and bond. 4: This verb meaning "to recommend" becomes this word for a small child when it loses its "U". tout and tot. 5: This, the worth or merit of something, loses its "U" to become this mortal life, like the one "of tears". value and vale. Round 2. Category: Country 1: This country's coat of arms has 3 stars for its 3 main island groups, an eagle for the U.S. and and a lion representing Spain. the Philippines. 2: In October 2002 this late rocker's "30 #1 Hits" CD debuted at the top of the country charts. Elvis Presley. 3: It's where you'll find Kerry's lovely lakes of Killarney. Ireland. 4: He won a 1967 Grammy for "Gentle on My Mind", which later became the theme song to his TV series. Glen Campbell. 5: In 2005 Lech Kaczynski became the president of this country. Poland. Round 3. Category: Other Christmas Songs 1: In 1942 this crooner had a No. 1 hit with "White Christmas". Bing Crosby. 2: This title line is followed by "underneath the mistletoe last night". "I Saw Mommy Kissing Santa Claus". 3: His "Christmas Album" of 1957 includes the now classic "Blue Christmas". Elvis Presley. 4: It's the alternate title and first line of "The Christmas Song", definitively sung by Nat King Cole. "Chestnuts Roasting On An Open Fire". 5: In 2014 Bob Geldof re-recorded this 30-year-old song as a fundraiser to fight Ebola. "Do They Know It's Christmas?". Round 4. Category: Write Foot 1: Beginning readers may learn about trick feet and sick feet in "The Foot Book" by this author whose real name was Theodor Geisel. Dr. Seuss. 2: In this Grimm tale, one sister cuts off a toe to fit into a golden shoe; the other, part of her heel; the title girl, a perfect fit!. Cinderella. 3: After landing in Oz, Dorothy is dismayed to see this woman's lifeless feet "shod in silver shoes with pointed toes". the Wicked Witch of the East. 4: In Fulgentius' "Mythologies", the goddess Thetis douses this babe in the River Styx, "his heel alone she did not dip". Achilles. 5: Artist Christy Brown wrote in this autobiography that he was "living in chains" battling cerebral palsy. My Left Foot. Round 5. Category: The Age Of The Robber Barons 1: In 1890 he became president of the American Tobacco Company in Durham, North Carolina. (James Buchanan) Duke. 2: Henry Frick made a fortune supplying the Pittsburgh steel industry with this product made from heating pulverized coal. coke. 3: The "P." in the name of this preeminent banker of the Gilded Age stood for Pierpont, his mother's family. (J.P.) Morgan. 4: 5 years after this act was passed, the Supreme Court gutted it in 1895's United States v. E.C. Knight. the Sherman Antitrust Act. 5: Montana's Marcus Daly owned this, the USA's richest copper mine, as well as the town named for it. Anaconda. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

In this episode Joe, Jen, and Tom talk the latest social media shenanigans, including #HenNews, then dive into the latest news, including who is suspected to be in the Tanchico storyline for season 3. This one gets heated. Hear Joe ask questions we can't answer! Hear Jen want to do it her way! Hear Tom lose his god-damned mind, possibly more than once! All that, plus learning about a holiday! As always, spoilers abound, as does critical analysis of "My Left Foot."WoT Up video: https://youtu.be/ES3gBycKtsw?feature=sharedhttps://www.instagram.com/p/C1klj2XLG1n/?igsh=cGFpdnljM3JzdW5hSupport the showhttps://www.talkaranrhiod.com/Rate/review us: https://tinyurl.com/udspfm5eX: @arantalkInstagram: talk_aran_rhiodDiscord: https://dsc.gg/talkaranrhiodYouTube: https://www.youtube.com/c/TalkaranrhiodEmail: podcast@talkaranrhiod.comMerch: https://www.newcreationsbyjen.com/collections/talkaranrhiod

For episode 099 of Actorcast, we are joined by Olivier award-winning actress, Fiona Shaw! I had such a wonderful time speaking with Fiona. I had taken a master class with her several years ago, and ever since then I've been fascinated with her perspective on acting. We discuss what acting means to her, how actors get in their own way, how the entertainment industry has evolved, and how to determine if you are on the right path as an actor. You do not want to miss this episode! Fiona Shaw is an Irish film and theatre actress, known for her work with the Royal Shakespeare Company and the National Theatre, as well as in film and television.  She won the 1990 Laurence Olivier Award for Best Actress for roles in the plays Electra, As You Like It, The Good Person of Szechwan, and Machinal. She received three Olivier Award nominations for her roles in Mephisto, Hedda Gabler, and Happy Days. She made her Broadway debut playing the title role in Medea for which she earned a nomination for the Tony Award for Best Actress in a Play. She returned to Broadway in the Colm Tobin play The Testament of Mary. In film, she played Petunia Dursley in the Harry Potter film series. Other notable film roles include in My Left Foot, Persuasion, Jane Eyre, The Tree of Life, Colette, and Enola Holmes. Follow my work at https://patrick-mcandrew.com and @patrick.mcandrew Photo credit:  © Marie-Lan Nguyen / Wikimedia Commons

At the end of the show a question from Gerry Mulvenna. Recommendations: David: The Pigeon Tunnel - Apple TV Academy Award-winning documentarian Errol Morris pulls back the curtain on the storied life and career of former British spy David Cornwell — better known as John le Carré, author of such classic espionage novels as The Spy Who Came in from the Cold, Tinker Tailor Soldier Spy and The Constant Gardener. Set against the turbulent backdrop of the Cold War leading into present day, the film spans six decades as le Carré delivers his final and most candid interview, punctuated with rare archival footage and dramatized vignettes. "The Pigeon Tunnel" is a deeply human and engaging exploration of le Carré's extraordinary journey and the paper-thin membrane between fact and fiction. https://www.apple.com/uk/tv-pr/originals/the-pigeon-tunnel/  The Pigeon Tunnel: Stories from My Life (Paperback) https://www.waterstones.com/book/the-pigeon-tunnel/john-le-carre/9780241976890  Stuart: The Boat Story - BBC Two strangers. One boat. Nothing to lose. An unexpected discovery could mean a second chance - or a bloody end. Dark comic thriller with Paterson Joseph and Daisy Haggard. https://www.bbc.co.uk/iplayer/episodes/p0glbknc/boat-story Eamonn: Lockerbie - Sky LOCKERBIE, a new mini-series that will be based on the bombing of Pan Am Flight 103 and the search for justice by Dr Jim Swire and his wife Jane who lost their beloved daughter, Flora, in the air disaster in 1988. The five-part series will be written by Academy Award nominees Jim Sheridan (In The Name of The Father, My Left Foot) and Kirsten Sheridan (In America, Dollhouse). All 259 passengers and crew were killed when the bomb exploded over Lockerbie 38 minutes after take-off, with a further 11 residents losing their life as the plane came down over the quiet, Scottish town. Thirteen years later, in 2001, Libyan national Abdelbaset al-Megrahi was convicted of the crime and later released on compassionate grounds in 2009. Shortly after the Lockerbie bombing, one of the worst terrorist attacks in history, some families of the victims joined together to launch a campaign for truth and justice. Among them was Dr Jim Swire whose campaign has taken him to the sand dunes of Libya to meet face-to-face with Colonel Gaddafi, to 10 Downing Street to meet with successive Prime Ministers and to the corridors of power in the US where he worked with the American victims' groups to mount pressure on Washington for tighter airport security, well before 9/11. The moving series will explore events from 1988 to the present day, while providing an intimate account of a man, a husband, and a father who pushes his marriage, his health, and his sanity to the edge. https://www.sky.com/watch/title/series/8a3430f6-066b-3397-abec-1d72b380ed90 

As the film and TV industry has grown in Ireland, so too have the supporting sectors. One of those is props; the signature pen held by a central character, the copper pots and pans from a 19th century Big House in the west of Ireland, a kitsch living room that matches a quirky personality. Well one of the country's main prop houses is auctioning off decades of their pieces from shows like Normal People and films like My Left Foot. Killian McNulty, manager of film prop house Historic Interiors and he joined Tom Dunne on the show today...

As the film and TV industry has grown in Ireland, so too have the supporting sectors. One of those is props; the signature pen held by a central character, the copper pots and pans from a 19th century Big House in the west of Ireland, a kitsch living room that matches a quirky personality. Well one of the country's main prop houses is auctioning off decades of their pieces from shows like Normal People and films like My Left Foot. Killian McNulty, manager of film prop house Historic Interiors and he joined Tom Dunne on the show today...

The Beatle's need a little financial help from there friends. Daniel Day Lewis to portray one of Romas's testiclesin "My Left Nut". https:/patreon.com/2als1podhttps://www.instagram.com/thetalkingdickscomedypodcast/https://twitter.com/DicksTwohttps://www.facebook.com/thetwodickshttps://www.facebook.com/The-Talking-Dicks-Comedy-Podcast-107101331446404Support the show

Garry Hughes is the chef at The Shelbourne, one of Dublins' finest and also oldest hotels, celebrating their 200th year in 2024. While the phrase hotel restaurant doesn't always conjure excitement, the Shelbourne under Gary's leadership has developed a culinary program that is exciting, creative, locally sourced, and most important—delicious.On this week's episode, we speak with Garry about the importance of work/life balance and the power of an eclair to change someone's life. We also talk to Gary about his own personal and professional journey and what it takes to run an operation as sprawling as The Shelbourne. The number of scones they bake every day will shock you!Dyed Green is a project of Bog & Thunder, whose mission is to highlight the best of Irish food and culture, through food tours, events, and media. Find out more at www.bogandthunder.com.Dyed Green is Powered by Simplecast.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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 this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----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 this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Honoring the life and art of Christy Brown can be done in a few ways. Aside from reading his books and seeing his art at a gallery, watching My Left Foot isn't a bad start. With moving performances and thoughtful direction from Jim Sheridan, this film is a great entry into the work of a genius whose physical barriers created an even greater depth to his already moving art. In this episode, Jon and Dan spitball ideas of how else Christy Brown's work could be honored in the 21st century.Recommended listening: Cripple ThreatNext episode: After Hours (1985)Contact us, follow us on social media, or buy some merch at linktr.ee/RuinedChildhoods

With an Oscar win under his belt, Brendan Fraser is back in the conversation but is often celebrated for his work in his adventure movies like George of the Jungle, Journey to the Center of the Earth, and The Mummy Franchise. But before all of that, Fraser joined up with two other lesser-known actors turned mega-star actors to portray LA-rocker dudes who take a radio station hostage until they play their demo. This movie has crept into obscurity but was a staple on cable television for a number of years and is often looked upon with fondness. On this episode, Dan and Jon imagine a world in which The Lone Rangers are still out there causing a scene.Next episode: My Left Foot (1989)Contact us, follow us on social media, or buy some merch at linktr.ee/RuinedChildhoods

Understanding biblical text; The entire picture; Navigating problems; Disaster among modern Christians/Jews; Doing the will of the father; Right Reason; Evidence of Sin; Virtue; Consequences of Sin; Righteous mammon; Mis-defining words; "Worship"; Ignoring Christ's requirements; "Smiting"; "Put to death"; Portable wealth; Golden statues; Practicality of God's plan; Wave offering; Ex 23:19; Ex 34:26; Milk and meat; Libera res publica; Naked = stripped of authority; Tree of Life; One purse; "Street"; "Adultery" in the bible; God's binding; Network of caring; Aaron's folly; First fruits to the House of the Lord; Sacrificing freely; Property tax; Ministers' pure religion; Seething a kid in mother's milk?; Food law?; Popularity of priests; Are you in a free society; Excessive compassion; The witch next door; Weakening children; Requiring responsibility; Overcoming; Redistribution of wealth; Social safety net snare; Strengthening the poor; Seeking public servants; Waving offerings to the (other) priests; Indian feast story; Anxious to come to neighbor's aid; "My Left Foot"; Raising adults; "Charlotte's story"; Making schools based on liberty; Status to be free; The Way of the Lord; Ministers empower people; Nicolaitans and Balaam; Becoming a conquered people; Repentance; Comprehending the metaphor; Public vs Private religion; befriending unrighteous mammon; Brickmaking for Pharaoh; Putting to death; Knowing the gospel; Tabernacles of the congregation; Approach the light.

The Best of The Rich Zeoli Show 2022: John Paul Mac Isaac—Author of “American Injustice: My Battle to Expose the Truth”—joins The Rich Zeoli to discuss his new book which documents his experience being caught-up in the Hunter Biden laptop scandal. In 2019, Hunter Biden commissioned John Paul's Wilmington, Delaware electronic repair shop to fix his liquid-damaged laptops. John Paul explains, “[c]oncerned that I was sitting on evidence in a criminal investigation, I set out to hand everything over to the FBI" after Biden never returned to collect his property. He continues, “[w]hen the story broke, Big Tech and social and mainstream media blocked the reporting” and “[m]y actions were labeled Russian disinformation.” Despite doing the right thing every step of the way, John Paul unfairly had his character attacked—ultimately, resulting in the forced closure of his business, The Mac Shop. During the interview, John Paul also reacts to Elon Musk's recent releasing of emails confirming that Twitter suppressed the Hunter Biden laptop story at the behest of the Biden campaign team—vindicating John Paul once and for all. His incredible book is available at: https://www.simonandschuster.com/books/American-Injustice/John-Paul-Mac-Isaac/978163758684 New York City is hiring a "Director of Rodent Mitigation" to help address the city's growing rat population. The position reportedly pays $170,000 annually. A woman is suing Kraft Heinz Foods Company for deceptive advertising—claiming Velveeta macaroni and cheese takes longer to make than the three and a half minutes advertised on the products packaging. The lawsuit is for $5 million According to a report from CNBC, just prior to widespread anti-government protests Apple limited its iPhone's AirDrop function in China—restricting the communication methods of protestors taking a stand against totalitarian COVID-19 lockdown procedures that have resulted in numerous deaths. CNBC writes that AirDrop, “relies on wireless connections between phones, rather than internet connectivity, placing it beyond the scope of [China's] internet content moderators.” In recently unearthed audio, Apple CEO Tim Cook praised China's government—particularly their environmental policies. Though, it is worth noting, China is currently the world's largest emitter of carbon, accounting for over 30% of global emissions. Meanwhile, according to Elon Musk, Apple has threatened to remove Twitter from its App Store. If Apple continues to support suppressive governments and acts hostile towards free speech, will consumers abandon the company? Twitter CEO Elon Musk has vowed to create his own smartphone if Apple removes the social media platform from its App Store.  Assistant Producer Daniel reveals that Neumann University recently decided to remove Charlie and the Chocolate Factory from its school's library. What did Willy Wonka do to offend people??? Actually, there might be a few controversial things Eli Lake—Contributing Editor at Commentary Magazine & Host of The Reeducation Podcast—joins The Rich Zeoli Show to discuss his latest article, “Can the FBI Be Saved from Itself—And Can We Be Saved from the FBI?” Lake writes, “the bureau remains a threat to both the civil liberties of its targets and the democratic health of the republic. Over the past six years in particular, we have learned that FBI officials routinely deceive not only the public but also the institutions designed to protect the public from FBI overreach. Agents lie to supervisors. Supervisors lie to judges. FBI directors mislead Congress. And almost no one is ever punished.” Read more at: https://www.commentary.org/articles/eli-lake/fbi-needs-new-reforms/ Henry attempts to select a film for today's Movie Mystery Clip, but Rich and Matt have never heard of his choice, “My Left Foot"—it's likely no one else on the planet has heard of it either! The segment quickly devolves into chaos.   Momma Zeoli discusses Hurricane Ian with kids!

The conclusion to our 4-part series is here! The beaches of Ocean City have been shut down after several human hearts wash ashore. A trio of loosely acquainted and even more loosely qualified paranormal sleuths are drawn into strange and dangerous goings on which they might not be cut out to handle. Join Natalie and the cast of $2 Creature Feature as we reach the exciting conclusion to our multi-podcast crossover series. Let's have an adventure!SPOILER WARNING - This Episode contains story beats and details that are drawn from $2 Creature Feature's 2nd Season, up to Episode 3. What Lies Beneath The Sofa.The Storyteller Squad: Expanded Universe is a collaboration series of one-shot adventures featuring Natalie as Keeper, running Monster of the Week for the casts of other ttrpg podcasts. These stories are loosely set within the canon timeline of our main campaign, but are not meant to imply canon events for the other podcast series or characters. Each crossover episode can be enjoyed as a standalone piece of content, however, there is an over-arching storyline connecting each episode to the next. We hope you enjoy this new series as much as we did making it. Our beloved hunters from Autumn Falls will return with more main campaign episodes once this first round of crossover episodes are released.Leave us a review and tell us your favorite thing about the podcast. You can help us reach our goal of 50 ratings on all major podcast platforms! (Apple, Spotify, and Google) It doesn't take long, and we'd love to share your kind words on our social pages. Thanks Adventurers~! You can join us and lots of other fantastic podcasters and fans over on the Podcast Nexus Discord Server - https://discord.gg/QphQvEg8dXFollow our Twitter, Instagram and other socials using this handy link hub - https://linktr.ee/TheStorytellerSquadSupport our Patreon and you help us directly with our production! - https://www.patreon.com/thestorytellersquadThis week we would love it if you sent our friends from $2 Creature Feature some love and thanked them for working on this with us. ( https://2dollarcreature.carrd.co/ ) You can find their Twitter @2DollarCreatureMusic:“$2 Creature Feature Theme” by Ian Mauldin“My Home My Life” by Sight of Wonders“It's in the Details” by Sight of Wonders“Main Street” by Mica Emory “A Warm Welcome” by Martin Landstrom “Outbound & Down” by Elliot Holmes“The Neurotic Detective” by Eoin Mantell“A Slight Advantage” by Max Anson “The Detective” by Christoffer Moe Ditlevsen “Reveal the Truth” by Philip Ayers“To Pirate Cove” by Adriel Fair “When Fealty Fails” by Jon Bjōrk“My Left Foot” by Dez Moran“Conspiracy Inc.” by Alec Slayne“Critical Thinking” by Philip Ayers“Danger Street” by Max Anson “Face On” by Wendel Scherer“Cryptic Secrecy” by Dream Cave“Glimmering Fields” by Bonn Fields“Frightening Notion” by Dream Cave“Wet Exit” by Addie Horner“What Lurks Beneath” by Jon Bjōrk“Never Turn Back” by Adriel Fair“We Are Heroes” by Bonnie Grace“A Monsters Feeling” by Hampus Naeselius“As Long As We Breathe” by Dream Cave“Wild Betrayal” by Bonnie Grace“Leap of Faith” by Edgar Hopp“Try to Catch Me” by Bonnie Grace“All the Pretty Memories” by Leimoti“Safe Space” by Million Eyes“Western Call” by Cody Francis“Dark Citrine” by Arden Forest“Pressure Drop” by Max Anson “In Disguise” by Jon Bjōrk“The Final Cut” by Hampus Naeselius“Just for Show” by Martin Landstrom“Night Facade” by Jon Bjōrk“It's Not That Serious” by Arthur Benson“Are You Sure” by Kikoru“Waving Goodbye” by Spectacles Wallet and...

Help Support Mike as an Actor and support his Podcast channel. Every new supporter will receive a custom NFT character from the show. https://www.patreon.com/mikefarrellAll characters will be uploaded on opensea https://opensea.io/collection/mikefar...Mike's Links here - https://linktr.ee/mikes_insta_life_Jim Sheridan was born in Dublin, Ireland on 6 February 1949.[2] He is the brother of playwright Peter Sheridan. The family ran a lodging house, while Anna Sheridan worked at a hotel and Peter Sheridan Snr was a railway clerk with CIÉ. Sheridan's early education was at a Christian Brothers school. In 1969 he attended University College Dublin to study English and History. In 1972, he graduated with a Bachelor of Arts degree in English. He became involved in student theater there, where he met Neil Jordan, who also was later to become an important Irish film director. After graduating from UCD in 1972, Sheridan and his brother began writing and staging plays, and in the late 1970s began working with the Project Theatre Company.In 1981, Sheridan emigrated to Canada, but eventually settled in the Hell's Kitchen section of New York City. He enrolled in NYU's Tisch School of the Arts and became the artistic director of the Irish Arts Center.Sheridan returned to Ireland in the late 1980s. In 1989, he directed My Left Foot, which became a critical and commercial success and won Daniel Day-Lewis and Brenda Fricker Academy Awards. He followed that with The Field (with Richard Harris) in 1990; then with In the Name of the Father in 1993, a fictionalized re-telling of the case of the Guildford Four. The film won the Golden Bear at the 44th Berlin International Film Festival.In 1996 he co-wrote Some Mother's Son with Terry George. The Boxer (with Daniel Day-Lewis) was nominated for a Golden Globe for best film drama in 1997. The film was Sheridan's third collaboration with Day-Lewis after My Left Foot and In the Name of the Father, making him the only director to work with Day-Lewis on three films. In 2003, he released the semi-autobiographical In America, which tells the story of a family of Irish immigrants trying to succeed in New York. The film received positive reviews and earned Samantha Morton and Djimon Hounsou Academy Award nominations. In 2005 he released Get Rich or Die Tryin', a film starring rap star 50 Cent.Sheridan helmed the 2009 film Brothers, starring Tobey Maguire and Jake Gyllenhaal, which was shot in New Mexico. He also directed the thriller Dream House, which starred Daniel Craig, Naomi Watts, and Rachel Weisz.Support the show

Did you miss any of The Rich Zeoli Show this week? It's ok. We forgive you. But now is your chance to catch-up on all the action: On Tuesday night, Pennsylvanians elected Democrat John Fetterman to the U.S. Senate. With 94% of the vote reporting, according to the Associated Press, Fetterman leads Dr. Mehmet Oz 50.5% to 47.1%. In the state's Gubernatorial race, Democrat Josh Shapiro easily defeated Republican Doug Mastriano—current reporting has Shapiro leading by over 700,000 votes. Why did Republicans underperform in Tuesday's midterm elections? Did abortion play a larger role in Pennsylvania than many were expecting? Did candidate quality doom Republicans? Henry attempts to select a film for today's Movie Mystery Clip, but Rich and Matt have never heard of his choice, “My Left Foot"—it's likely no one else on the planet has heard of it either! The segment quickly devolves into chaos. Marc Joffe—Policy Analyst at the CATO Institute—joins The Rich Zeoli Show to discuss his latest editorial for National Review, “Is the Biden Administration Creating a Medicaid Fiscal Cliff?” Joffe writes: “By continuing to needlessly extend the Covid-19 state of emergency, the Biden administration is making Medicaid even more financially unsustainable than it already was.” According to data from the Centers for Medicare and Medicaid Services (CMS), more than a quarter of “Americans are now enrolled in Medicaid or CHIP.” Could this rapid expansion lead to single-payer healthcare? Read more at: https://www.nationalreview.com/2022/11/is-the-biden-administration-creating-a-medicaid-fiscal-cliff/ The Washington Post's Glenn Kessler awarded President Joe Biden a “bottomless Pinocchio” for not only making grossly misleading statements but repeating the falsehoods routinely. For example, Biden claimed he has spent “more time with Xi Jinping than any other head of state” and has traveled more than “17,000 miles with him.” Kessler points out that not only are these claims false, but he has repeated the claim 21 times! According to the WaPo, Biden has also lied about the price of gas, student debt forgiveness, and Social Security cost-of-living increases. Clarice Schillinger—former candidate for Pennsylvania Lieutenant Governor & Executive Director of Back to School U.S.A.—joins The Rich Zeoli Show to discuss her latest opinion editorial at Broad + Liberty, “The Pennsylvania GOP is a Dumpster Fire.”Read more at: https://broadandliberty.com/2022/11/09/beth-ann-rosica-and-clarice-schillinger-the-pennsylvania-gop-is-a-dumpster-fire/  

The Rich Zeoli Show- Full Show (11/10/22): 3:05pm- Assessing the 2022 Midterms: It seems as though mail-in ballots aren't going away anytime soon. Consequently, Republicans need to develop strategies to maximize voter turnout. Though a red wave was predicted by many polling outlets, it clearly never materialized—did weak Republican candidates play a major role in the party's underperformance?  3:35pm- While speaking with Andrea Mitchell and Jen Psaki on MSNBC, host Katy Tur suggested that Senator-elect John Fetterman might be a future Presidential candidate based-upon his over-performance in Pennsylvania's midterm elections. 3:45pm- On Tuesday, retired Philadelphia Eagles player Corey Simon won a Florida State Senate seat. During his victory speech, Simon noted that he will become the first Republican since reconstruction to represent Tallahassee District 3 in the state's Senate.  4:10pm- On Wednesday, Joy Behar stated that she believed The View helped boost John Fetterman's candidacy—propelling him to an election victory. 4:15pm- Henry attempts to select a film for today's Movie Mystery Clip, but Rich and Matt have never heard of his choice, “My Left Foot"—it's likely no one else on the planet has heard of it either! The segment quickly devolves into chaos.  4:40pm- Marc Joffe—Policy Analyst at the CATO Institute—joins The Rich Zeoli Show to discuss his latest editorial for National Review, “Is the Biden Administration Creating a Medicaid Fiscal Cliff?” Joffe writes: “By continuing to needlessly extend the Covid-19 state of emergency, the Biden administration is making Medicaid even more financially unsustainable than it already was.” According to data from the Centers for Medicare and Medicaid Services (CMS), more than a quarter of “Americans are now enrolled in Medicaid or CHIP.” Could this rapid expansion lead to single-payer healthcare? Read more at: https://www.nationalreview.com/2022/11/is-the-biden-administration-creating-a-medicaid-fiscal-cliff/ 5:00pm- Clarice Schillinger—former candidate for Pennsylvania Lieutenant Governor & Executive Director of Back to School U.S.A.—joins The Rich Zeoli Show to discuss her latest opinion editorial at Broad + Liberty, “The Pennsylvania GOP is a Dumpster Fire.” Read more at: https://broadandliberty.com/2022/11/09/beth-ann-rosica-and-clarice-schillinger-the-pennsylvania-gop-is-a-dumpster-fire/ 5:20pm- During her Thursday press conference, White House Press Secretary Karine Jean-Pierre warned that despite Democrats performing better during the midterm elections than was expected by pollsters, Democracy is “still under threat.” Jean-Pierre also claimed that Republicans struggled due their hostility towards the Inflation Reduction Act.  5:45pm- Is there life after death? A new research study from New York University's Grossman School of Medicine attempted to solve that mystery by interviewing several people who suffered near death experiences and studying their brain function during those experiences. The results of the study may surprise you! 5:50pm- On Wednesday, Georgia Secretary of State Brad Raffensperger announced that the U.S. Senate race between Republican candidate Hershel Walker and Democrat incumbent Sen. Raphael Warnock will head to a runoff election scheduled for December 6th after neither candidate was able to surpass 50% of the vote in Tuesday's race.  6:05pm- Does anyone want to see New Jersey Governor Phil Murphy make a run for the U.S. Presidency? New polling indicates nobody is interested…shocking! How desperate are Democrats for presidential nominees? MSNBC's Katy Tur is suggesting that John Fetterman's future may be in the White House! 6:35pm- According to Moody Analytics, interest payments on the national debt will surpass military spending by 2025 or 2026—reaching over $760 billion annually. 6:50pm- Who Won Social Media? + Zeoli's Final Thought

The Rich Zeoli Show- Hour 2:  On Wednesday, Joy Behar stated that she believed The View helped boost John Fetterman's candidacy—propelling him to an election victory. Henry attempts to select a film for today's Movie Mystery Clip— except Rich and Matt (and no one else on the planet) have never heard of “My Left Foot.” Marc Joffe—Policy Analyst at the CATO Institute—joins The Rich Zeoli Show to discuss his latest editorial for National Review, “Is the Biden Administration Creating a Medicaid Fiscal Cliff?” Joffe writes: “By continuing to needlessly extend the Covid-19 state of emergency, the Biden administration is making Medicaid even more financially unsustainable than it already was.” According to data from the Centers for Medicare and Medicaid Services (CMS), more than a quarter of “Americans are now enrolled in Medicaid or CHIP.” Could this rapid expansion lead to single-payer healthcare? Read more at: https://www.nationalreview.com/2022/11/is-the-biden-administration-creating-a-medicaid-fiscal-cliff/

Henry attempts to select a film for today's Movie Mystery Clip, but Rich and Matt have never heard of his choice, “My Left Foot"—it's likely no one else on the planet has heard of it either! The segment quickly devolves into chaos. 

In this conversation, we talk about:moments of connection; autistic representation in tv and film;the drama triangle and victim consciousness; the non-linear developmental patterns of autistics; andempty bullshit rituals. Lnks to things we reference :Auticomm 4:26 Jump the Shark 4:44 Kite boarding 5:53 Gene type for autism 14:44 Iain McGilchrist 15:18 Brain developmental differences for autistics 19:41 Autism's high association with gender fluidity 31:18 The artificial banana flavor myth 33:34 Extraordinary Attorney Woo 34:30 Getting past firewalls 35:18  Criticism of Attorney Woo 38:19 Echolalia 40:40 Savantism 40:40 Non-verbal 45:30 Vivo 46:52 Sia movie 47:55 The Good Doctor 49:00 Squid Game 56:51 My Left Foot 58:50 Hyper/hypo expressive 0:56:29 Hyperlexic 1:01:33 America's Got Talent - autistic called “brave” 1:05:42 Queen for a day 1:06:31 Victim consciousness 1:07:38 Dr. Phil called out 1:08:28 Good Riddance 1:32:46 “My point, and I do have one” 1:33:23 Oracle 1:36:46 US Access Board on Neurodiversity 

In this episode we cover the 62nd Academy Awards, which honored the films of 1989. The nominees were: Born on the Fourth of July, Dead Poets Society, Driving Miss Daisy, Field of Dreams, and My Left Foot. We also discuss Do the Right Thing, Sex, Lies, and Videotape, and When Harry Met Sally.Notes: SPOILERS - we talk through the full plots of all the movies we cover.Timestamps are approximate: 12:00 - Born on the Fourth of July22:00 - Dead Poets Society26:30 - Field of Dreams35:40 - My Left Foot42:55 - Driving Miss Daisy52:10 - Should something else have been nominated?52:25 - Do the Right Thing1:06:10 - Sex, Lies, and Videotape1:10:15 - When Harry Met Sally1:16:15 - Did the Oscars get it wrong?1:16:40 - Conclusions1:22:50 - Next Time

On Snubs, film fans and co-hosts, Caroline Young and Chris Masciarelli, discuss their favorite films that were snubbed by the Oscars. On this episode, our titular hosts, along with special guest Mike Young (Caroline's dad) discuss the sports comedy Major League and the 1990 Academy Awards it was noticeably absent from. Caroline tries to be a good sport, no pun intended, Chris is absolutely tickled by this Snubs pick, and Mike sees no need for My Left Foot. Don't forget to follow on Instagram! https://www.instagram.com/snubspod/ A High Tops Media Podcast You can follow for more High Tops Media content on Facebook, Instagram, and Twitter: @hightopsmedia Check out more podcasts on our website https://hightops.media

This week on the podcast Vicky and Joe discuss idling, mowing the lawn (or not as the case may be), never-ending bathrooms, and the worst. writing. advice. EVER. Listen up as Vicky has opinions on the idea that writers have a muse and the muse bestows ideas. Joe weighs in on the topic of motivation. And at the end, as a special treat, Vicky interviews Joe in rapid-fire styleeeee so come and learn a little more about him!   Key Takeaways: [2:05] Joe is reading Of Women and Salt and Vicky is reading her second Agatha Christie, an Idler's Manual, and My Left Foot. [4:26] If you are one of the very few people who do not know about My Left Foot, Vicky describes it. [5:47] Vicky makes a -50 degree mistake. [7:24] At Dom's Impact event, Vicky spoke about the magic of writing books. [10:01] Vicky's favorite bad writing advice. [11:58] What happens when you ‘write when you are inspired'. [13:00] The idea of inspiration comes, not from the gods, but from hallucinogens. [16:12] Vicky reveals where inspiration truly comes from. [17:56] Look at things. Because a drop of water can contain an entire universe. [20:02] How Vicky gets motivated to write. [22:17] Joe reminds us of the power of habits. [25:01] Joe sums up this show's takeaways, or does he? [26:36] Vicky turns her rapid-fire questions toward Joe. [28:55] How Joe makes Vicky laugh.   Mentioned in This Episode: Website Join Vicky's Power Hour Free Writing Calendar Book Breakthrough Jam Moxie Books Podcast Subscribe on iTunes, Stitcher, and Overcast Email Vicky about 1:1 coaching at: vicky@moxiebooks.co.uk The Idler Of Women and Salt Mysterious Affair at Styles An Idler's Manual My Left Foot Swiss Family Robinson

Join Dani and Nick for the seventh episode of season three of KINOTOMIC.In this episode we talk about 'My Left Foot', directed by Jim Sheridan and starring Daniel Day-Lewis and Brenda Flicker; and 'Sound Of Metal', directed by Darius Marder and starring Riz Ahmed and Olivia Cooke.Also in this episode Dani talks about finally watching 'Once Upon A Time In Hollywood', Nick misquotes The Simpsons, and we talk about our appreciation for perhaps the greatest actor ever.Leave a rating and a review, and THANK YOU for listening!!Twitter: @kinotomicContact us: kinotomic@gmail.com

Donald Macleod talks to Peter and Emilie Bernstein about their father, award winning Hollywood film composer Elmer Bernstein, who wrote for films during the 1980s and 1990s. Born in 1922, Elmer Bernstein created the music for more than 150 films. His big break was one of Hollywood's biggest pictures, Cecil B DeMille's swan song, the 1955 biblical epic, "The Ten Commandments". At the same time as working on that enormous canvas for DeMille, Bernstein was composing the first in a series of ground-breaking jazz infused scores, "The Man with the Golden Arm". He went on to write the music for the Hollywood adaptation of Harper Lee's classic novel "To Kill a Mockingbird", Westerns which include The Magnificent Seven, surely one of the best known title themes in the history of cinema, before he became the go to composer for John Wayne. His scores for action adventures include "The Great Escape" and a moving depiction of the inner life of a prisoner in "Birdman of Alcatraz". Nominated on numerous occasions, he won an Oscar for "Thoroughly Modern Millie". In the 1980s he delighted younger generations of cinema goers with scores such as "National Lampoon's Animal House", "Ghostbusters" and "Airplane!", before deciding to make a return to more serious drama. Projects with Martin Scorsese included the film of Edith Wharton's novel "The Age of Innocence", and he also created a remarkable portrait of the artist Christy Brown in "My Left Foot". His last score, for which he received a final Oscar nomination, was for Todd Haynes' "Far from Heaven" in 2002. He died just two years later in 2004. As well as a hugely successful career as a film composer Elmer Bernstein assumed several leadership roles. He also financed a scheme to preserve Hollywood film scores. Among the music he preserved was Max Steiner's King Kong. Donald Macleod marks the centenary of this gifted and versatile film composer in conversation with Peter and Emilie Bernstein, two of Elmer Bernstein's children. They offer a fascinating insider's view to the film music industry alongside a personal portrait of their father. Music Featured: The March from Stripes Prelude to The Ten Commandments The Ten Commandments (excerpt) To Kill a Mockingbird (excerpt) Concerto for Guitar and Orchestra for two Christophers: II: Reflections The Man with the Golden Arm (excerpt) Walk on the Wild Side: Main title The Magnificent Seven (excerpt) To Kill a Mockingbird (excerpt) True Grit (excerpt) How Now Dow Jones: A Little Investigation The Great Escape: Main title Overture to Hawaii The Birdman of Alcatraz Summer and Smoke (excerpt) Big Jake (excerpt) Zulu Dawn: River Crossing Ghostbusters theme Suite from Airplane! Heavy Metal: Taarna's Theme Ghostbusters (excerpt) My Left Foot (excerpt) The Grifters (excerpt) Far from Heaven: Autumn in Connecticut Far From Heaven (excerpt) Rambling Rose (excerpt) Devil in a Blue Dress (excerpt) Cape Fear (excerpt) The Age of Innocence: Main title Presented by Donald Macleod Produced by Johannah Smith For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page for Elmer Bernstein (1922-2004) https://www.bbc.co.uk/programmes/m0015v23 And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Better late than never, we're finally talking about "Belfast" and it was worth the wait! Ciarán Hinds is giving Queen Troy Kotsur a run for his Oscar in the Best Supporting Actor category, while Judi is a bit of a surprise nomination who still packs a wallop in a few choice moments. Caitriona Balfe with that roar and that window acting and that Bus Scene joins the ranks of Ann Dowd for Best Supporting Moms without an Oscar nod this year. This movie brings up a lot of thoughts about seeking community, Irish moms, "My Left Foot" and "Passing" as potential companion pieces, and some good old fashioned thirsting for Jamie Dornan, when we can remember who he is. Join us for the Best Supporting Aftershow AND get early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov

Chris Chung (Apple TV's Slow Horses) and Gianmarco reminisce about their dead acting teacher with guest co-host Ian Fidance and then move on to lighter topics like improvising with Tracy Morgan, being uncircumcised, Sandy Meisner's secret island for his favorite male students, how Daniel Day-Lewis' star turn in My Left Foot would play today, and performing a play with an audience of one and that one happening to be your dad. You can watch full video of this episode HERE! Follow Chris Chung on Instagram and Twitter Watch Chris Chung in Apple TV's Slow Horses Follow Gianmarco Soresi on Twitter, Instagram, TikTok, Facebook, & YouTube Subscribe to Gianmarco Soresi's email & texting lists Check out Gianmarco Soresi's monthly show in NYC Watch or listen to Gianmarco Soresi's special "Shelf Life" on Amazon & on Spotify Follow Ian Fidance on Twitter & Instagram E-mail the show at TheDownsideWGS@gmail.com Produced by Fawn Sullivan, Paige Asachika, & Gianmarco Soresi Video edited by Spencer Sileo Special Thanks Tovah Silbermann Part of the Authentic Podcast Network Original music by Douglas Goodhart Learn more about your ad choices. Visit podcastchoices.com/adchoices

Join us for the latest edition of the Movie Mount Rushmore Podcast as hosts Nico Lurot (@Nico Lurot) and Anthony "AJ" Jordan (@TonyNTR) are here to discuss the TOP 10 Irish Movies to celebrate St Patrick's Day. From international spectaculars like In Bruges, to grizzly stories like Calm with Horses, classics like My Left Foot and Oscar winners like In the name of the Father. The amount of quality that has come out of, and indeed features the shinning Emerald Isle of Ireland is quite Amazing. Want some edutainment for potentially lesser known but still great movies this one is for you!Do you like the Dudes? Wy not buy us a coffee and show your supporthttps://www.buymeacoffee.com/moviedudesHERE'S HOW THE SHOW WORKS:Hosts, Aj and Nico each get assigned a topic, we go our separate ways to compile our individual TOP 10 lists on a new Movie topic each week. Then we rejoin to count down our individual lists where one person delivers their bottom 3 movies, then the other delivers their bottom 3. Then the original person delivers his next two, then the other person their next two. When we reach the top 5s on our list, we bounce back and forth and trade one a-piece. If at any time we are counting down our lists, one person has a movie in a higher position that person will say " PUNT" and we will then talk about that movie when we get to the higher position.Once both of our TOP 10 lists have been counted, we create the "Movie Mount Rushmore": these are the 4 quintessential, diverse, must see-see movies of the topic each week.We then put our 4 picks out on Twitter, and YOU all decide who the winner is! To vote, head on over to our Twitter page @MovieMtRushmore!You can now catch the Movie Mount Rushmore podcast as a visual show as well. Just head over to our Youtube Channel: https://www.youtube.com/channel/UCJbO...Missed our The Batman review? Catch it here: https://www.youtube.com/watch?v=Xyj5p...Be sure to share this podcast with all movies fans that you know, and follow us for free on Spreaker, https://www.spreaker.com/show/movie-m...Spotify, https://open.spotify.com/show/5wJ8H1Y...Apple Podcasts, https://podcasts.apple.com/us/podcast...CastBox, https://castbox.fm/channel/Movie-Moun...Deezer https://www.deezer.com/en/show/709182iHeartRadio, https://www.iheart.com/podcast/966mov...Podchaser: https://www.podchaser.com/podcasts/mo...TuneIn: https://tunein.com/podcasts/Media--En...Stitcher: https://www.stitcher.com/show/movie-m...

In this week's Acteurist Oeuvre-view, we're still in the early stages of Daniel Day-Lewis's career, and once again the utterly obscure (Pat O'Connor's quirky comedy Stars and Bars (1988)) is paired with a much better-known film (Jim Sheridan's My Left Foot (1989), based on the life of disabled writer and painter Christy Brown). We discuss Stars and Bars' attempt to achieve a tone like Scorsese's After Hours, and why it wouldn't be the same if Hugh Grant were playing Day-Lewis's part. Then we move on to discussing what makes Christy Brown a perfect role for Day-Lewis and what emotional qualities make the performance great. We conclude that My Left Foot is sort of like Lynch's The Elephant Man with a demonic rather than saintly central figure.  Time Codes: 0h 01m 00s:    Stars and Bars (1988) [dir. Pat O'Connor] 0h 22m 35s:    My Left Foot (1989) [dir. Jim Sheridan] +++ * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's latest film piece on Preston Sturges, Unfaithfully Yours, and the Narrative role of comedic scapegoating. * Check out Dave's new Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com  

Our first movie of the episode is Coda (2021) a wonderful movie that both Matt and Jason could not recommend more. Then in our second film, randomly chosen by The Great Randomizer, Matt and Jason take a look at Daniel Day Lewis in My Left Foot from 1989.

Recorded on Saturday December 18th 2021 We talk about "The Boys" And the films Nightmare Alley (1947) & My Left Foot (1989)

In this episode, the Amigos kinda celebrate their first anniversary as Movie Amigos while they kinda converse about the art of "acting!" We like movies and we're amigos. Join us and be our movie amigos. Instagram: https://www.instagram.com/movieamigospodcast/ Find us wherever you listen to podcasts! Letterboxd profiles: Gila https://letterboxd.com/gilasantos1/ Josh https://letterboxd.com/joshman972/ Juve https://letterboxd.com/mrfalcon/ Movies mentioned this episode: Titanic (1997) Air Bud (1997) 101 Dalmatians (1996) Mulan (1998) The Night of the Hunter (1955) Inglourious Basterds (2009) Perfect Blue / パーフェクトブルー (1997) Dragonball Evolution (2009) The Last Airbender (2010) Finding Nemo (2003) Shang-Chi and the Legend of the Ten Rings (2021) Black Widow (2021) Midsommar (2019) Snow White and the Huntsman (2012) Abduction (2011) The Princess Diaries (2001) The Mortal Instruments: City of Bones (2013) The Blind Side (2009) Mirror, Mirror (2012) Pretty Woman (1990) My Fair Lady (1964) The Sound of Music (1965) Notting Hill (1999) Runaway Bride (1999) Erin Brockovich (2000) Harry Potter and the Sorcerer's Stone (2001) Little Women (2019) The Suicide Squad (2021) Beauty and The Beast (2017) The Circle (2017) Toy Story (1995) Forrest Gump (1994) Lost in Translation (2003) The Terminal (2004) Twilight (2008) You've Got Mail (1998) Captain Phillips (2013) Marriage Story (2019) Les Misérables (2012) Fast Five (2011) Joker (2019) Zack Snyder's Justice League (2021) Suicide Squad (2016) Transformers (2007) Jojo Rabbit (2019) Fighting with My Family (2019) Spider-Man (2002) The Lighthouse (2019) My Left Foot (1989) There Will Be Blood (2007) Nightcrawler (2014) Phantom Thread (2017) I, Tonya (2017) Good Time (2017) Hereditary (2018) Call Me By Your Name (2017) The Shining (1980) Gone Girl (2014) Black Swan (2010) Star Wars: Episode I – The Phantom Menace (1999) Léon: The Professional / Léon (1994) The Prestige (2006) The Greatest Showman (2017) Hot Fuzz (2007) Maleficent (2014) Cinderella (2015) The Jungle Book (2016) Aladdin (2019) Lady and the Tramp (2019) Dumbo (2019) The Princess Diaries 2: Royal Engagement (2004) The Dark Knight Rises (2012) Alice in Wonderland (2010) Interstellar (2014) Ella Enchanted (2004) Miss Congeniality (2000) Gravity (2013) The Devil Wears Prada (2006) Kramer vs. Kramer (1979) La La Land (2016) Blade Runner 2049 (2017) Blue Valentine (2010) Crazy, Stupid, Love. (2011) Finding Dory (2016) Onward (2020) The Godfather (1972) Shakespeare in Love (1998) Doctor Strange in the Multiverse of Madness (2022) Luca (2021) The Boy (2016) The Amazing Spider-Man (2012) She's the Man (2006) Both intro and outro music: Beat provided by https://freebeats.io Produced by White Hot RELEASE CODE: 55514 For any inquiries: Email us at movieamigospodcast@gmail.com

We've reached the end of the 80s! And what a year this was. Driving Miss Daisy controversially won the top honor over the likes of My Left Foot, Glory and Do The Right Thing. We break down why we think this happened, and what movie WE think deserved Best Picture.

In this rich episode I ask Angela and Victor to help me understand what we have to heal and what healing is anyways. If you have found yoga to be a healing practice for you, if you've had trauma(s) in your life, or if you're just curious about a deeply gentle and personally empowered healing practice looks like, you will enjoy this episode. You may want to listen to this one a few times. I know I will. *Pardon the squeaky fan and it's interaction with Zoom technology. ---------------------------------- Links: Info about Angela's Zoom series in September 2021 is available on the ‘Products' page of their website or directly here. Information about the movie My Left Foot that Angela discusses at the end can be found here. ---------------------------------- Find out more about Angela and Victor at angela-victor.com Find out more about Blake at blaketedder.com | blake@blaketedder.com | @nohighwaycowboy on Twitter Music: Siddartha Corsus "Ta Da!" from freemusicarchive.org

Romas shits on Ducharme's comedy influencers.Romas has a brain-fart on stage.Is Cosby going on tour?They answer listeners questions. https://www.instagram.com/twodicks2/https://www.youtube.com/thetwodickshttps:/patreon.com/thetwodickshttps://www.facebook.com/thetwodickshttps://www.facebook.com/The-Talking-Dicks-Comedy-Podcast-107101331446404Support the show (https://www.patreon.com/thetwodicks)

The gang get admitted to the Library of Congress this week, as they review Brokeback Mountain (2005). This cultural icon movie brought a refreshing take on homosexual romance. Starring heavy hitters, Heath Ledger and Jake Gyllenhaal, and directed by another heavy hitter, Ang Lee. Did Pete, Tyler, and Joseph fall in love with Brokeback? Or was this a time capsule that's better left in history?This episode is streamed live on twitch.com/STABcomedy, and we are also joined by local Celebrity, Adam Murphy to play trivia one on one with Pete, and tell us all about the return of the Night at the Red Museum in Sacramento. Watch the unedited video here https://www.twitch.tv/videos/1075679013 In News:STAB comedy theater, Twitch, prime time internet TV, KQCA 58, Alabama, Germany, Studio Ghibli, Sleepaway Camp, Sorcerer, Nosferatu, Zardoz, Haxan, Big Trouble in Little China, John Carpenter, Kurt Russell, Dean Cundey, James Hong, Lo Pan, Raiden, Cameo, Eric Holmes, Bruce Purkey, Find Your Film, Nicolas Cage, Cillian Murphy, Brittany Murphy, Eddie Murphy, Annie Murphy, James Murphy, Charlie Murphy, The Comedy, Tim Heidecker, 1776, leprechauns, Annihilation, Goodfellas, Casino, The Secret Life of Dogs, Kill Bill, Back to the future, The Matrix, Hot Tub Time Machine, Some like it Hot, Gremlins, Joe Dante, Stop Making Sense, Horns, Jonathan Demme, The Burbs, Innerspace, Matinee, Small Soldiers, The Howling, Piranha, Looney Toons: Back in Action, Alexander Aja, Peter Rabbit, Peter Pan, Office Space, Wendy, Goofy Movie, Peter Parker, Kelsey Grammar, Paddington 2, Citizen Kane, Wild at Heart, Sean Connery, Zoo, Xanadu, Z, Zebra Girl, Horse Girl, Zombieland, Zola, Zach Snyder's Justice League, Zootopia, Zathura, Zero Dark Thirty, Zoolander, 1961, Cadillac, Driving Ms. Daisy, Pulp Fiction, Scarface, Dream Girls, Shape of Water, Ghostbusters, Fear and Loathing, Dukes of Hazard, Jackie Chan, American Beauty, Silence of the Lambs, Shakespeare in Love, Titanic, Forrest Gump, Schindler's List, Shawshank Redemption, Saving Private Ryan, Phenomenon, John Travolta, Forrest Whitaker, Finding Nemo, Over the Hedge, Ninja Turtles, Master Oogway, Kung Fu Panda, mullets, Joe Dirt, The Lost Boys, Keifer Sutherland, Labyrinth, Lincoln, Dances with Wolves, My Left Foot, Last of the Mohicans, Kevin Costner, Gangs of New York, The Crucible, Werewolves Within, The Hunt, Alicia Vikander, Knives Out, Goonies, Homer Stokes, O Brother Where art Thou, John Goodman, Gulstan Dart, First Date, Sundance, Twister, Bill Paxton, Silngblade, Nilly Bob Thornton, Dwight Yoakam, John Ritter, Cable Guy, Jim Carrey, Train Spotting, Kontroll, The Rock, Sean Connery, Mars Attacks, Tremors, Independence Day, Nathan Dan, Space Jam, Home Movies, Halloween: The Musical, Halloween Kills, Pitch Black, Starship Troopers, Godzilla, Matthew Broderick, The Exorcist sequel, Danzig, Beyond Burgers, Impossible Burgers, Groundhog's Day, Michael Bay, Edge of Tomorrow, Live Die Repeat, Will Sasso, Mel Gibson, Naomi Watts, Frank Grillo, Matthew McConaughey, Eric Stoltz, Bigfoot, Sasquatch, Olivia Wilde , Rita Moreno: Just a Girl who Decided to go For it, West side story, Marlon Brando, Inside: Bo Burnham,  www.MCFCpodcast.comEmail us at MCFCpodcast@gmail.com    Leave us a voicemail (209) 730-6010Joseph Navarro    Pete Abeyta   and Tyler Noe    Streaming Picks:  Boss Level - HuluTropic Thunder - Amazon PrimeHumboldt County - HBO Max

Welcome to Episode 9 of Don't Know Her? and this week we are talking about the Irish goddess that is Fiona Shaw. Fiona will be a familiar face to a wide array of cinemagoers thanks to her eclectic filmography. She will be known to a great many for her performance as Aunt Petunia in the Harry Potter films whilst others will recall her memorable turns in Irish favourites such as My Left Foot and The Butcher Boy. Of course, her TV work in Killing Eve and Fleabag are a consistent reminder of this woman's onscreen talents. So please join us this week as we dive into both the big-hitter blockbusters and the quieter indies to cover Fiona's fascinating film career. As per usual we dissect our personal standout moments and cast our eye to the future to send out a few personal wishes for what we'd love to see her do next. Follow @dontknow_her on Twitter and Instagram to keep updated on upcoming episodes and to have your say on future episodes. --- Send in a voice message: https://anchor.fm/dontknowherpod/message

In this episode, Melissa reacts to finding out who Michael Douglas would choose to play him in a movie about himself, and goes down a list of well made, and not so well made biopics. These include "Braveheart," "Lady Sings The Blues," "My Left Foot," and "Bohemian Rhapsody." If you enjoyed this episode, follow us and subscribe to the show: you can find us on iTunes or on any app that carries podcasts as well as on YouTube. Please remember to subscribe and give us a nice review. That way you will always be among the first to get the latest GSMC Movie Podcasts. We would like to thank our Sponsor: GSMC Podcast Network Advertise with US: https://gsmcpodcast.com/advertise-with-us Website: https://gsmcpodcast.com/gsmc-movie-podcast Apple Podcasts: https://itunes.apple.com/us/podcast/gsmc-movie-podcast/id1116274617 GSMC YouTube Channel: https://www.youtube.com/watch?v=tX3_EvbHp08&list=PLF8Qial15ufrmDabMk03LCx49N85Bx v71 Twitter: https://twitter.com/GSMC_Movies Facebook: https://www.facebook.com/gsmcmovie/ Disclaimer: The views expressed on the GSMC Movie Podcast are for Movie purposes only. Reproduction, copying or redistribution of The GSMC Movie Podcast without the express written consent of Golden State Media Concepts LLC is prohibited.

¡Hola a todos! En esta ocasión en Pin Pum Pan, tendremos un invitado muy especial, Jorge Yebra Romero, escritor y realizador audiovisual, escritor del libro en venta actualmente, "De Friends a Fleabag, la evolución de la comedia de ficción televisiva", del cuál estaremos hablando en el intermedio. Como películas principales, del gran Paul Thomas Anderson, The Phantom Thread (2017), y acompañándola, lo más reciente de Disney, Cruella (2021), esperamos que lo disfruten y nos acompañen todas las semanas. Estén atentos a nuestro Instagram, nuestro Twitter y nuestro canal de Youtube Las redes de Jorge, Twitter y Blogspot Playlist de Spotify con la música de las series del libro. (00:00:25) Presentación de Jorge Yebra Romero (00:03:48) Phantom Thread (2017) (01:02:55) "De Friends a Fleabag, la evolución de la comedia de ficción televisiva" (02:09:27) Cruella Referencias: Magnolia (1999) There Will Be Blood (2007) Roma (2018) My Left Foot (1989) The Last of the Mohicans (1992) The Father (2020) Halston (serie, 2021) Kenan y Kel (serie, 1996) Drake y Josh (serie, 2004) iCarly (serie, 2007) Ned's Declassified School Survival Guide (serie, 2004) The Simpsons (serie, 1989) How I met your mother (serie, 2005) Friends (serie, 1994) Everybody Loves Raymond (serie, 1996) The OC (serie, 2003) Married with children (serie, 1987) Alf (serie, 1986) 3rd Rock from the Sun (serie, 1996) I Dream of Jeannie (Mi bella genio, serie, 1965) Two and a Half Men (serie, 2003) The big bang theory (serie, 2007) Home Improvement (serie, 1991) Curb Your Enthusiasm (serie, 2000) Breaking bad (serie, 2008) (Christiam dice que es creada por Terry Gilliam, pero es por Vince Gilligan) Better Call Saul (serie, 2015) Modern family (serie, 2009) It's Always Sunny in Philadelphia (serie, 2005) The Office (serie, 2005) Community (serie, 2009) Parks and recreation (serie, 2009) The IT crawd (serie, 2006) Louie (serie, 2010) Atlanta (serie, 2016) The Fountain (2006) Fleabag (serie, 2016) Ted Lasso (serie, 2020) Dave (serie, 2020) Orange is the new black (serie, 2013) CSI (serie, 2000) Bones (serie, 2005) Castle (serie, 2009) Law and order (serie, 1990) House (serie, 2004) Aquí no hay quien viva (serie, 2003) El chavo del 8 (serie, 1971) Friends: The Reunion (2021) Mr Robot (serie, 2015) Scrubs (serie, 2001) Supernatural (serie, 2005) Family ties (serie, 1982) The golden girls (serie, 1985) Twin peaks (serie, 1990) The wire (serie, 2002) Deadwood (serie, 2004) Band of brothers (serie, 2001) Naruto (serie, 2002) Fraser (serie, 1993) Cheers (serie, 1982) Family matters (serie, 1989) The fresh Prince of Bel-Air (serie, 1990) Master of none (serie, 2015) The Hunks (serie, 2011) Love (serie, 2016) Hannah Montana (serie, 2006) The Devil Wears Prada (2006) The Mitchells vs the Machines (2021) Mad Max: Fury Road (2015) A Room with a View (1985) --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/pinpumpan/support

The Irish Passport brings you an interview with Jer O'Leary: actor, activist, artist, orator of Jim Larkin speeches and Dublin legend who recorded these tapes before he died in 2018. Jer discusses growing up in the Irish capital and how it changed over his life, and how he ended up in the national art college despite leaving school at 14, and his work creating banners for Ireland's union movement, a body of work that led writer Fintan O'Toole to once describe Irish protest marches as moving exhibitions of Jer O'Leary's art. O'Leary describes his route into theatre and film through political activism, and we hear from childhood friend Richard Collins about how Jer ended up behind bars for his role in an IRA holdup in the political turmoil of the 1970s - and how it changed his life. If you haven't heard it, listen to our episode to the 1913 Dublin Lockout, a prequel to this interview: https://www.theirishpassport.com/podcast/the-irish-left-legacies-of-the-lockout/ Some images of Jer's life and work can be seen here: https://comeheretome.com/2018/12/26/goodbye-to-jer-oleary-actor-and-larkinite/ Jer O'Leary can be seen in My Left Foot here: https://youtu.be/CNFrixpsOAg And in Game of Thrones here: https://youtu.be/MXGPgNp719k Follow us on Facebook and Twitter at @PassportIrish. If you enjoyed this episode, do give us a good review in your podcast app and share it with your friends. Bonus episodes are published for our supporters over at www.patreon.com/theirishpassport

With the Oscars just around the corner, we tackle a pet peeve: abled actors playing disabled characters and winning butt loads of awards for it. What is The Academy's fascination with these performances? Why are they still so prevalent? And how does the award-winning trend bar accessibility both in front of and behind the camera? With in-depth discussion on Rain Man, My Left Foot, and Scent of a Woman, and reference to Forrest Gump, Sling Blade, Coming Home, The King's Speech, Ordinary People, Joker, Silver Lining's Playbook, I Am Sam, The Theory of Everything, and more. Email us at boothwindow@gmail.com, and/or follow us on social media @theobveeus and @caitlinstow

In what is without a doubt, the most pretentious movie picked so far, Tate picks Daniel Day Lewis' My Left Foot from 1989. Is our anonymous third co-host finally going to be able to say the word auto-biographical? How many of the hosts suffer from podophobia? Apparently, Al Michaels is a big fan of this movie. The only way to find out the answers to these questions, and how we know about Al's personal movie opinions, is to listen in. This movie was directed by Jim Sheridan. GD4AM: 67/100 IMDb: 7.9/10 Metacritic: 97/100 RT: 98% Christy Brown is born with cerebral palsy to a large, poor Irish family. His mother recognizes the intelligence and humanity in the lad everyone else regards as a vegetable. Eventually, Christy matures into a cantankerous artist who uses his dexterous left foot to write and paint. Currently available on HBOMAX.

Cassidy & Tim cover the 1990 nominees for Best Picture: Field of Dreams, Driving Miss Daisy, My Left Foot, Dead Poets Society, and Born on the Fourth of July. Joined by a special guest courtesy of Kevin Costner, Tim and Cassidy have A LOT of thoughts about the decisions made by the Academy this year. Cassidy will be recovering from this one for a long time.   Twitter: @FHCpod Instagram: @forherconsiderationpodcast

Episode Notes Surprise! My friends Tony and Jamie have started their own podcast called "Cripple Threat" where they review disability media and talk about being disabled. They asked me to come on their show and review "My Left Foot" with them, and I said yes. I also wanted to give their show an opportunity to grow and be heard, since disability themed media is rarely given a platform. So enjoy this one, and then go listen to their show "Cripple Threat" at the link below or wherever you podcast. Enjoy it! https://cripple-threat.pinecast.co

Today we have our first celebrity guest on the show: writer, public speaker, disability rights advocate, documentary subject, and spastic dancer Drew Gurza. Drew joins us to discuss My Left Foot, the Citizen Kane of cripple movies, in which Daniel Day-Lewis plays a disabled poet in search of autonomy and love through mastery of the only part of his body he can control. Throughout the show we discuss a smattering of topics, including the scarcity of cripple role models, the horrors of porridge, times when inter-able boundary encroachment has caused embarrassing public freakouts, Jamie's tedious vocabulary, how the wheelie experience is suited to quarantine, miscommunication in client directed care, and the disabled perils of dropping ones phone. Drew's Twitter https://twitter.com/drewgurza Drew's Sextoy Book https://thatshandi.co/ Find out more at http://cripplethreatpodcast.com

Queen of Shops Mary Portas has carved out a role as a retail fixer, style guru and successful broadcaster. She joins Richard and Nikki to discuss her extraordinary career and a new season of On Style, a four-part series on Radio 4 exploring what style means to us and the way we live today. Actor Adrian Dunbar grew up in Northern Ireland and moved to London as a young man to train as an actor in London. His career has included appearances in films My Left Foot and The Crying Game and television programmes such as Cracker and Ashes to Ashes, but most famously, since 2012 Adrian has played Superintendent Ted Hastings in Line of Duty. He tells us about his recent trip around his homeland for Adrian Dunbar’s Coastal Ireland. Ella Risbridger is the author of cookbook and memoir Midnight Chicken which chronicles how cooking helped her through an anxiety disorder, depression and bereavement. She shares her favourite recipes from the book and explains how she feels cooking saved her life. When listener Mark Davies’ uncle died last year, he was shocked to discover that he was a secret hoarder. As Mark cleared his house, he found every nook and cranny filled with both mundane and extraordinary objects from apple pips to World War II medals. And we have the Inheritance Tracks of Andrew Lloyd Webber. Producer: Laura Northedge Editor: Eleanor Garland

Mike and Dan kick off season 4 with The Incredible Shrinking Man (1957).  Mike talks about how we respond to different kinds of characters and how our response to the title character's predicament is dependent on his size; Dan talks about how the film points out how childhood has disappeared from contemporary life.  The guys also mention Clash of the Titans, My Left Foot, and what makes what would be a fine Twilight Zone episode a more stirring look at our relationship to the universe.  So run from the cat, kill that spider, and give it a listen!   Please rate, review, and subscribe wherever you get your podcasts and follow us on Twitter @15MinFilm.  

1990 Oscars: Episode 2 Every two weeks, Quintin and Andrea discuss two films nominated for Best Picture. Once all the nominated films have been discussed, they have their own Oscar awards to determine which films stand out today.  In this podcast, they discuss the 1990 Best Picture nominees Dead Poets Society and My Left Foot. They discuss these emotional films and how they still hold up today. You can follow their journey on Letterboxd below: Quintin - https://letterboxd.com/King_Q/Andrea - https://letterboxd.com/andreasue03/ 

While 2010's "Easy A" is primarily a scarlet love letter to Emma Stone and her emerging star power, it's Patricia Clarkson and the unfathomably hot Stanley Tucci as her parents who nearly steal the show. To say nothing of Lisa Kudrow as the misguided guidance counselor, "Wings" alum Thomas Haden Church, Amanda Bynes pre-retirement, Penn Badgley post-Gossip Girl, and just the way Stanley Tucci says the line, "You alright, buddy?" We also have much to say about gift cards, Ann Hathaway, colonial Williamsburg, gay men's love for tragic divas, "Transatlanticism," Julia Child, Olive Kitteridge and that restaurant scene in "My Left Foot." Email: thebsapod@gmail.com Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov

Betsy and Greg look back at MY LEFT FOOT

'There is honestly nothing quite like kissing your family goodbye, not knowing what will happen next.’Today we are immensely grateful to Lucille, who has agreed to share her experience of having been diagnosed with Covid-19 during lockdown.TW:This story features description of symptoms of Covid-19 and tells the story of a family’s fight with the virus.DISCUSSIONWe were extremely grateful that Lucille decided to share a painful event in her life with us.Her experience of UK lockdown is so far removed from our own, and this is how we start our discussion in today’s episode.Yet what we loved about Lucille’s story is her generosity. In sharing her story with others, with our audience and on her blog, she helps us understand her struggles better. Her account is also a beautiful ode to the NHS workers.We are so grateful to Lucille for sharing her experience with us.RECOMMENDATIONI highly recommend that you follow Lucille on instagram and on her website, which includes details about her independent jewelry business. The other recommendation today is a film which speaks about dealing with pain and family matters: My Left Foot. THANK YOU, Lucille, FOR TELLING YOUR STORY OF 2020 ON THE PODCAST.Support the show (https://ko-fi.com/alexcuncev)

Some films are so overrated... Sometimes, even best picture winners are overrated. Especially when you consider who the winner beat to win the best picture Oscar. Dances with Wolves beating Goodfellas, Driving Miss Daisy beating My Left Foot for example. We won't say more to avoid giving too much away, but you see what we're getting at! Sometimes, it's not even down to who they beat, they could be deserving winners due to lack of competition, but just as a whole one could find the film to be over-rated. It's a fun list, and as always, highly subjective. Enjoy!BRAND NEW: We are now giving you the chance to vote for the winner of each Movie Mount Rushmore! Head over to @MovieMtRushmore on Twitter, as each episode is released each week and look for the Movie Mount Rushmore's poll (it will be pinned to the top) and give your vote for the winner of the Rushmore. Winner will be announced the following week, and be sure to follow We Love Movies @MoviePolls4U, our new friends who are graciously hosting our polls each weekBe sure to share this podcast with all movies fans that you know, and follow us for free on Spreaker, https://www.spreaker.com/show/movie-mount-rushmoreSpotify, https://open.spotify.com/show/5wJ8H1Y01slPBGs6BDUsKJApple Podcasts, https://podcasts.apple.com/us/podcast/movie-mount-rushmore/id1338321324CastBox, https://castbox.fm/channel/Movie-Mount-Rushmore-id1158548?country=usDeezer https://www.deezer.com/en/show/709182iHeartRadio, https://www.iheart.com/podcast/966movie-mount-rushmor-29061971/Podchaser: https://www.podchaser.com/podcasts/movie-mount-rushmore-992292Be sure to follow us on Instagram https://www.instagram.com/silverscreendudes/ for all latest movies news, our movie highlights and your chance to pitch a topic of the Rushmore. Want to interact with the Silver Screen Dudes? That's why we set up our brand new Twitter page. Come and join the party and interact with us at https://twitter.com/MovieMtRushmore or search @MovieMtRushmoreWhy not check out our brand new website www.silverscreendudes.comRemember to use our hashtags also #moviemountrushmore#edutainment

Some films are so overrated... Sometimes, even best picture winners are overrated. Especially when you consider who the winner beat to win the best picture Oscar. Dances with Wolves beating Goodfellas, Driving Miss Daisy beating My Left Foot for example. We won't say more to avoid giving too much away, but you see what we're getting at! Sometimes, it's not even down to who they beat, they could be deserving winners due to lack of competition, but just as a whole one could find the film to be over-rated. It's a fun list, and as always, highly subjective. Enjoy!BRAND NEW: We are now giving you the chance to vote for the winner of each Movie Mount Rushmore! Head over to @MovieMtRushmore on Twitter, as each episode is released each week and look for the Movie Mount Rushmore's poll (it will be pinned to the top) and give your vote for the winner of the Rushmore. Winner will be announced the following week, and be sure to follow We Love Movies @MoviePolls4U, our new friends who are graciously hosting our polls each weekBe sure to share this podcast with all movies fans that you know, and follow us for free on Spreaker, https://www.spreaker.com/show/movie-mount-rushmoreSpotify, https://open.spotify.com/show/5wJ8H1Y01slPBGs6BDUsKJApple Podcasts, https://podcasts.apple.com/us/podcast/movie-mount-rushmore/id1338321324CastBox, https://castbox.fm/channel/Movie-Mount-Rushmore-id1158548?country=usDeezer https://www.deezer.com/en/show/709182iHeartRadio, https://www.iheart.com/podcast/966movie-mount-rushmor-29061971/Podchaser: https://www.podchaser.com/podcasts/movie-mount-rushmore-992292Be sure to follow us on Instagram https://www.instagram.com/silverscreendudes/ for all latest movies news, our movie highlights and your chance to pitch a topic of the Rushmore. Want to interact with the Silver Screen Dudes? That's why we set up our brand new Twitter page. Come and join the party and interact with us at https://twitter.com/MovieMtRushmore or search @MovieMtRushmoreWhy not check out our brand new website www.silverscreendudes.comRemember to use our hashtags also #moviemountrushmore#edutainment

Dave and Paul are back for an epic 150th episode! Join them as they talk about two of the greatest actors ever in a special METHOD ACTORS pod. Sean Penn and Daniel Day Lewis are the focus this week including some of their greatest performances including, Carlito's Way, Mystic River, My Left Foot, and There Will Be Blood!

Fiona Shaw is an Irish actress and director, and one of the most recognised performers of her generation. A star of both stage and screen, she has numerous film credits, including diverse roles in My Left Foot (1989), Three Men and a Little Lady (1990) and a turn as Petunia Dursley in the Harry Potter series, to name but a few. She has worked extensively with the National Theatre, and received several awards for her work on stage, including three Laurence Olivier awards for best actress. Recent award winning television performances include Carolyn Martens in Killing Eve. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories

Dave talks about number 65 on the 1980's Essential Movies list being My Left Foot (1989).

more movies more talk, a bit late but we got there Stir Crazy Podcast #8 - Daniels?; Conspiracy Theories; Swiss Army Man; My Left Foot

Before she played the most unrealistic homeless woman in Home Alone 2: Lost in New York, Brenda Fricker became the first Irish actress to win an Academy Award for My Left Foot. Her competition included Julia Roberts, Lena Olin, Anjelica Houston, and Dianne Wiest. Join Kyle Brownrigg and co-host Liz de Carle for another episode of Best Actress.

"My Left Foot" is teeming with talent, from Daniel Day-Lewis to Fiona Shaw to Hugh O'Connor to Best Supporting Actress Brenda Fricker as Christy Brown's devoted mother. This week, we celebrate the Irishness of it all, the set piece of the Restaurant Scene, Fiona Shaw as Medea, the perils of method acting, and the matriarchs in our own lives. Plus, quality drag content that isn't a competition and a review of our list of BSA's in Waiting! Email: thebsapod@gmail.com Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov

This week we try and talk about Joker, every Joaquin Phoenix performance being a version of himself and try to record an ad. Recorded on 11.12.2019 Tweet us at @seconddinnerpod Email us at seconddinnerpod@gmail.com Things we spoil (or just mentioned): Joker Atlanta 300 Gladiator Nightcrawler The Dark Knight, Man on the Moon, My Left Foot, Transformers, Fury, Holes, Lawless, Walk The Line, I’m Still Here, Venom, Deadpool, Zorro the Gay Blade, Blow Out, Maury, Batman TAS, The Batman, Birds of Prey, The Daily Show, Suicide Squad Daredevil, Elektra, The Kitchen, Captain Marvel, Black Panther, Endgame, Dark Phoenix, Far From Home, Glass, Brightburn, Hell Boy, Chronicle, Zombieland 2, Zombieland, The Dresden Files, Logan, Doom Black Panther Count: 3