Podcasts about Never Say Never Again

In our James Bond versus James Bond episode, we wondered which was the best 1983 version of Bond. Connery in Never Say Never Again, or Moore in Octopussy. We put the question to our audience on The 80s and 90s Overlooked YouTube channel and here are the results.  For More from the 80s and 90s Web: the80sand90s.com    Instagram: @The80sand90sCom  YouTube: The 80s and 90s Overlooked

Click here for the Full Video version to watch along with us - now on Patreon!"Murder is forever... Until now!" Last year, in 2024, we did a Time Travel Movie Vote and the internet decided we should watch Jean-Claude Van Damme's cinematic masterpiece - 1994's "Time Cop" - so of course we had to do it as a commentary track! (Note: Movie starts at 18:04)Podcasters Featured:Zack Derby ⁠⁠(The NeatCast)⁠⁠Kory Torjussen ⁠⁠(The World Is My Burrito)⁠⁠Justin Ache ⁠(Epik Fails of History)⁠Chris Carroll ⁠(Comic Zombie)⁠Erik Slader (The Super Switch Club)(Episode edited by Erik Slader)Click here to check out Erik's latest book, “Tempus Machina: A Short (Time Travel) Story” - available now on Amazon, Kindle, and Audible!Also, be sure to check out our other Movie Commentaries on our Patreon:⁠Street Fighter: The Movie (1994)⁠⁠Super Mario Bros (1993)⁠King Kong Escapes! (1968)⁠Godzilla vs the Smog Monster (1971)⁠⁠007 - Never Say Never Again (1983)⁠The Podcasters will Assemble again... If you would like to be featured on an upcoming episode head over to: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://probablywork.com/podcasters-assemble/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠You can also join the discussion in our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord server⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Support us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Our Merch!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Network InfoThis podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @probablywork⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.probablywork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ProbablyWorkPod@gmail.com

Infamous title aside, Octopussy was the first of two Bond movies released in 1983; the other being the unofficial Never Say Never Again. Roger Moore was aging but still proved to be popular with audiences. Is it his all time high? Or did he stick around too long? Guest Peter Baldeo returns to discuss. ___ Please consider joining our Patreon: https://www.patreon.com/wwibofficial YouTube: https://www.youtube.com/@whywasntitbetter Instagram: https://www.instagram.com/wwib_official Twitter: https://twitter.com/WWIBpodcast TikTok: https://www.tiktok.com/@wwibpodcast Subscribe! Rate! Review! Tell a friend!

On this episode of Normal World, Dave Landau, 1/4 Black Garrett, and Angela mock the Yankees for keeping WAP over New York, New York before diving into Hollywood insanity. They debate whether The Rock is a secret James Bond film, Sean Connery's rogue Never Say Never Again, and why Casino Royale should have stayed true to the books. Then, things spiral. The team tears into Amelia Perez, a gender-bending crime drama with more Oscar nominations than Schindler's List. The plot? A drug lord transitions, fakes his death, returns as a nanny, starts an NGO, and adopts an orphan—because, of course. They roast Oscar bait films, Wicked's rumored satanic undertones, and why Dune 2 is too good to win. Hollywood's obsession with method acting also gets torched, from bizarre off-screen antics to the intense training some actors go through. The crew praises British actors' discipline and theater backgrounds, comparing their approach to American stars who worked their way up from the stage. The show wraps with final Oscar predictions, and just when things seem settled, Dave throws in an unexpected contender for best performance—one that no one saw coming. Today's Normal World guest is BlazeTV contributor Matthew Marsden. Watch episode four of ‘The Coverup: Smoking Gun' at faucicoverup.com/NORMAL and use code “SMOKINGGUN” for $30 off your subscription.  Go to TryMiracle dot com slash NORMAL and use the code NORMAL to claim your FREE 3 PIECE TOWEL SET and SAVE over 40% OFF. Merch Go to shop.blazemedia.com/collections/normal-world to shop our merch! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's episode of Wise_N_Nerdy with Charles, Joe, and Kurt is packed with fun, insights, and the wisdom that makes this podcast a must-listen for fans of nerd culture and fatherhood alike. True to tradition, the show opens with the “Question of the Week,” this time tackling the timeless spy genre: If you were to introduce someone to James Bond, what movie would you start with? Joe shares his fondness for both the GoldenEye film and its iconic video game, which shaped the 90s gaming scene. Kurt makes the case for the Daniel Craig movies, particularly as a gateway to the modern era of Bond. Charles brings a deep cut to the table, highlighting Never Say Never Again, while listener Devocite recommends the classic Goldfinger. The debate sets the stage for a spirited episode. A roll of the dice launches the crew into “What Are You Nerding Out About?” Kurt dives into his adventures in 3D printing, sharing creative updates and triumphs. Joe introduces an anime his wife suggested, My Happy Marriage, noting its remarkable animation quality and compelling story. Meanwhile, Charles recounts his exciting weekend at Chattacon, adding another layer of fandom flair. The dice then land on “Daddy, Tell Me a Story,” where Joe recalls his first trip to Six Flags—a wild memory involving some unintended head trauma. This sparks a hilarious and relatable conversation as the hosts share stories of their most memorable (and painful) injuries. As the fates roll on, the crew tackles a meaningful “How Do I...?” segment, offering heartfelt advice on helping kids navigate failures and disappointment. It's a shining example of the podcast's commitment to blending fandom with fatherly wisdom. In the “Parliament of Papas,” the trio responds to a listener's question about managing a challenging relationship with their step-son's biological father, providing both empathy and practical advice. The episode wraps up on a lighthearted note, thanks to Devocite's groan-worthy yet laughter-inducing bad dad joke. So, whether you're here for nerdy discussions, parenting tips, or just a great laugh, this episode delivers on all fronts. Remember to Find your FAMdom with us every week. Wise_N_Nerdy: Where Fatherhood Meets Fandom.

The Daily Quiz - Entertainment, Society and Culture Today's Questions: Question 1: Which Bird Is Resident Of The American Southwest and Has Been Immortilized In A Cartoon Series? Question 2: What was the name of the iconic '90s film where Julia Roberts plays a prostitute who is hired by a wealthy entrepreneur? Question 3: Who was condemned in Hades to forever push a boulder uphill, only for it to come rolling down before it reached the top? Question 4: Which book of the Bible features the Israelites fleeing from slavery in Egypt? Question 5: In Greek mythology, the riddle of what did Oedipus solve? Question 6: Which actress has featured in films including L.A. Confidential and Never Say Never Again? Question 7: Which film contains the character 'Gordon Gekko'? Question 8: In the Marvel Cinematic Universe, which character is played by Stellan Skarsgård? Question 9: Which of these languages would you find spoken in India? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Would the real James Bond please step forward? In this episode Michael & Claire are coming out of retirement but *definitely* showing their age in a sequel was borne out of decades of legal wrangling and is perhaps the very definition of "just because you can, doesn't mean you should" If you haven't seen Sean Connery in 'Never Say Never Again' then you haven't seen James Bond 007! (apparently...) At time of recording Never Say Never Again is available to rent or buy from most digital platforms.

It's a 50-50 week on Spoilerpiece, as one of the movies we watch is crap, and one is a joy from start to finish. First, the crap, because we didn't want to end on a sour note: Lee Daniels' THE DELIVERANCE (2:12), a derivative dumpster fire of a possession story cribbed from better possession stories. What makes it so awful, though? Glad you asked! Every character but one in this movie is an asshole. Like, a serious asshole. Andra Day's Ebony? Asshole. Glenn Close as her mother, Alberta? Asshole. Mo'Nique as the world's meanest social worker? Total asshole. We at Spoilerpiece don't usually need to root for a character, but when you're watching a movie and hope the demon wins, something is amiss. But then there's the salve: MOUNTAINS (26:10), director and co-writer Monica Sorelle's drama about a Haitian immigrant demolition worker living in Miami (Atibon Nazaire), his wife (Sheila Anozier), and their very American son (Chris Renois). All the bad vibes from THE DELIVERANCE are instantly erased! Praise Jesus! (If you have the misfortune of seeing THE DELIVERANCE, you'll understand.) And over on Patreon, our August poll winner is NEVER SAY NEVER AGAIN, the non-Eon Bond film featuring Sean Connery's return as 007.

In this episode of The Phantom Premise, Julie and John talk about Sean Connery's curious attempt to remake Thunderball (before he made Never Say Never Again). Underwater cities and robot sharks are just the beginning of his problems... Subscribe for more screenwriting discussions and script readings. Study Screenwriting Online: https://flexible.falmouth.ac.uk/courses/masters/ma-writing-for-script-and-screen Subscribe so you don't miss anything from our network of podcasts: https://podcasts.apple.com/gb/channel/the-script-department/id6442503874 The Short-Fi Podcast: https://open.spotify.com/show/3JUQIn4q7qBQ4BwBU6km7q Visit our website: https://www.thescriptdepartment.net Follow us on LinkedIn: https://www.linkedin.com/company/thescriptdepartment  Follow us on Instagram: http://instagram.com/thescriptdepartment  Follow us on Facebook: https://www.facebook.com/thescriptdepartment  Support our Work: Buy us a Coffee: https://www.buymeacoffee.com/TheScriptDept

Sean Connery had vowed he was never going to return as James Bond after 1971's Diamonds Are Forever. Meanwhile, a man called Kevin McClory had agreed not to exercise his screen rights to the story of Thunderball until 1975. Yet the highest profile 'unofficial' Bond project would bring them both together, as Never Say Never Again did battle with the official 007 film Octopussy at the 1983 box office. A different battle played out in 1999, as Robert De Niro took the plunge into comedy with Analyze This. It'd be an early hit in a year that was awash with them - yet the idea of a mob boss seeing a shrink, that seemed original when the film was conceived - was about to slam head-first into a brand new TV show... Learn more about your ad choices. Visit megaphone.fm/adchoices

We knew this episode was gonna grow arms and legs when we realised that there are 27 Bond songs to talk about. So, now that we've dispensed with the history of Bond music, it's time to tackle every single one of these songs in chronological order. This doesn't include the original Bond theme from Dr. No (cause we discussed that at length in side A), but does include the two songs in On Her Majesty's Secret Service and the two non-Eon Bond films, Casino Royale (1967) and Never Say Never Again. It's a lot to cover. So we approached it a bit like our covermount episodes, only we decided to rank each song from 001 to 007 cause how could we really pass up that chance? We also give a little bit, the tiniest smidge, of detail about each film its place in the canon and the critical and audience receptions for each film. And song, where appropriate. Ready? Shake your Martinis and let's get stuck in.

THIS OPPORTUNITY COMES ONCE IN A LIFETIME!! 8 Mile Full Movie Reaction Watch Along: https://www.patreon.com/thereelrejects  With Eminem reprising his Slim Shady persona on his new single, "Houdini," Aaron Alexander & John Humphrey give their First Time Reaction, Commentary, Breakdown, & Spoiler Review for the film staring Eminem aka Marshall Mathers as B-Rabbit, loosely based on his own life & directed by Curtis Hanson (L.A. Confidential, The Hand that Rocks the Cradle); Co-Starring Mekhi Phifer (Dawn of the Dead, ER), Brittany Murphy (Clueless, Sin City), Anthony Mackey (Captain America: The Winter Soldier, Avengers Endgame), Kim Basinger (Batman, The Nice Guys, Never Say Never Again), Michael Shannon (Revolutionary Road, The Shape of Water) + appearances from XZibit, Proof, Obie Trice, Njeri Earth, Brandon T. Jackson, & MORE! Aaron & John REACT To all the Best Scenes & Rap Battles including the Rabbit Battles Lil' Tic Scene, The Lunch Truck Scene, Rabbit Battles Papa Doc Scene, Cheddar Pulls a Gun Scene, Rabbit is Betrayed Scene, Rabbit Battles Lyckety-Splyt Scene, & Beyond!! Follow Aaron On Instagram: https://www.instagram.com/therealaaronalexander/?hl=en Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

This week the brothers are talking "Octopussy" and "Never Say Never Again". That's right it's time to talk about Connery vs. Moore. A battle where Moore won at the box office but Connery won in our hearts.

NEVER SAY NEVER AGAIN, PST. MRS DAYO BENJAMINS-LANIYI (FIRST SERVICE)

NEVER SAY NEVER AGAIN, PST. MRS DAYO BENJAMINS-LANIYI (SECOND SERVICE)

"He's going home. I think he's had enough of what we call civilization..." - Commander Carl Nelson Just in time for the release of "Godzilla x Kong: The New Empire" (2024), the sequel to "Godzilla vs Kong" (2021) - we decided to revisit our #KongZillaThon season by doing a drunk commentary track for the absolutely bonkers Japanese sequel to the original "King Kong vs Godzilla" (1962) - 1967's "King Kong Escapes"! (The one with Mecha-Kong?!) Podcasters Featured: Zack Derby ⁠(The NeatCast)⁠ Kory Torjussen ⁠(The World Is My Burrito)⁠ Justin Ache (Epik Fails of History) Chris Carroll (Comic Zombie) (Episode edited by Erik Slader) Check out our other Movie Commentaries on our Patreon: Super Mario Bros (1993) Street Fighter: The Movie (1994) Godzilla vs the Smog Monster (1971) Never Say Never Again (1983) Network Info This podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste! Twitter | Facebook| Instagram: @probablyworkwww.probablywork.com Email: ProbablyWorkPod@gmail.com

Join Mike and Joe as they discuss James Bond, Shroud of Mystery #1, Flintstones S1 Ep. 9 The Engagement Ring, Many Ghosts of Doctor Graves #64, Never Say Never Again, House of Mystery #241, Beverly Hillbillies #1

Join Mike and Joe as they discuss James Bond, Shroud of Mystery #1, Flintstones S1 Ep. 9 The Engagement Ring, Many Ghosts of Doctor Graves #64, Never Say Never Again, House of Mystery #241, Beverly Hillbillies #1

Join Mike and Joe as they discuss James Bond, Shroud of Mystery #1, Flintstones S1 Ep. 9 The Engagement Ring, Many Ghosts of Doctor Graves #64, Never Say Never Again, House of Mystery #241, Beverly Hillbillies #1

Pamela Salem, who played Moneypenny in Never Say Never Again, has died at 80.

This week, Brad Garoon and Jake Ziegler team up with Mike Noyes and Charlie Peterson from the 'Random Acts of Cinema' podcast for a deep dive into the cinematic world of 1979. And opinions are SPLIT. Brad's choice the group is Albert Brooks' directorial debut "Real Life," an under-the-radar satire that presciently critiques the rise of reality television. On the flip side, Jake recommends "Moonraker," a James Bond adventure that takes the franchise to outer space, a place some wish it would have stayed. Luckily, Charlie is a Bond maniac and has plenty to say in the movie's defense. Listen to Random Acts of Cinema. Other movies discussed in this episode: Live and Let Die (1973), The Spy Who Loved Me (1977), Stalker (1979), Alien (1979), Neil Young & Crazy Horse - Rust Never Sleeps (1979), Phantasm (1979), Star Trek: The Motion Pictures (1979), Zombie Flesh Eaters (1979), The Castle of Cogliostro (1979), The Brood (1979), Vengeance Is Mine (1979), My Brilliant Career (1979), The Jerk (1979), Dracula (1979), Nosferatu the Vampyre (1979), Apocalypse Now (1979), The Muppet Movie (1979), The Black Hole (1979), Saint Jack (1979), Going in Style (1979), Rocky II (1979), The Warriors (1979), Never Say Never Again (1983), Octopussy (1983), Lost in America (1985), Broadcast News (1987), Defending Your Life (1991), Eat Drink Man Woman (1994), Die Another Day (2002), Big Fan (2009), Going in Style (2017), Annihilation (2018), Ruby Gillman, Teenage Kraken (2023), Albert Brooks: Defending My Life (2023).

Welcome back to THE DISCOURSE, a podcast about film, entertainment & culture.In this episode, Carl and Tony discuss a fascinating recent article by Ellen E. Jones calling for 'white cinema' to become a recognised term, citing filmmakers like Wes Anderson and Sofia Coppola. They examine the argument.Plus! With copyright on major comic-book figures like Superman & Batman set to expire in the not too distant future, they consider a 2030s where we might have a franchise landscape filled with superhero Never Say Never Again's.And finally, following a recent list of 75 of the most iconic TV moments in history, they question why the list had to be so expressly American, and what else you could throw into that canon...--Remember: subscribe to THE DISCOURSE+ for early access, ad-free listening and bonus episodes not available to regular listeners.Support the show here:https://wemadethis.supportingcast.fm/the-discoursehttps://podcasts.apple.com/gb/podcast/the-discourse/id1645920271www.patreon.com/thediscoursepodcastNew episodes of The Discourse drop each week every Monday and Wednesday...Host / EditorCarl SweeneyCo-HostTony BlackFollow us on social media:https://linktr.ee/thediscoursepodcastFollow Tony & Carl:Carl: @CKJSweeney on TwitterTony: https://linktr.ee/ajblackwriterListen to Carl's THE MOVIE PALACE podcast:https://wemadethispodcasts.com/podcast/the-movie-palace-podcastListen to Tony's AT THE MOVIES IN THE 90s podcast:https://wemadethispodcasts.com/podcast/at-the-movies-in-the-90sWe Made this Twitter: @we_madethisWebsite: wemadethispodcasts.comTitle music: The Subtle Ones (c) John Ahlin via epidemicsound.com

Welcome back to THE DISCOURSE, a podcast about film, entertainment & culture.In this episode, Carl and Tony discuss a fascinating recent article by Ellen E. Jones calling for 'white cinema' to become a recognised term, citing filmmakers like Wes Anderson and Sofia Coppola. They examine the argument.Plus! With copyright on major comic-book figures like Superman & Batman set to expire in the not too distant future, they consider a 2030s where we might have a franchise landscape filled with superhero Never Say Never Again's.And finally, following a recent list of 75 of the most iconic TV moments in history, they question why the list had to be so expressly American, and what else you could throw into that canon...--Remember: subscribe to THE DISCOURSE+ for early access, ad-free listening and bonus episodes not available to regular listeners.Support the show here:https://wemadethis.supportingcast.fm/the-discoursehttps://podcasts.apple.com/gb/podcast/the-discourse/id1645920271www.patreon.com/thediscoursepodcastNew episodes of The Discourse drop each week every Monday and Wednesday...Host / EditorCarl SweeneyCo-HostTony BlackFollow us on social media:https://linktr.ee/thediscoursepodcastFollow Tony & Carl:Carl: @CKJSweeney on TwitterTony: https://linktr.ee/ajblackwriterListen to Carl's THE MOVIE PALACE podcast:https://wemadethispodcasts.com/podcast/the-movie-palace-podcastListen to Tony's AT THE MOVIES IN THE 90s podcast:https://wemadethispodcasts.com/podcast/at-the-movies-in-the-90sWe Made this Twitter: @we_madethisWebsite: wemadethispodcasts.comTitle music: The Subtle Ones (c) John Ahlin via epidemicsound.com

Charles Skaggs & Xan Sprouse watch Never Say Never Again, the unofficial James Bond film from 1983, directed by Irvin Kershner, featuring Sean Connery's final appearance as James Bond, Kim Basinger as Domino Petachi, and Klaus Maria Brandauer as Maximillian Largo! Find us here:Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19 Facebook:  @DrunkCinema Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

Sean Connery was back as James Bond for the seventh and final time! An unofficial remake of Thunderball, Never Say Never Again had a complicated production thanks to the court case surrounding it. Was it worth all the money and legal headaches? Friend of the show Tyler Van Fossen returns to discuss. ___ Twitter Instagram YouTube Subscribe! Rate! Review! Tell a friend! --- Send in a voice message: https://podcasters.spotify.com/pod/show/whywasntitbetter/message

In this thrilling episode of Drive-In Double Feature Podcast, hosts Nathan and Ryan venture into the world of espionage with "Never Say Never Again" (1983). Directed by Irvin Kershner, this James Bond film sees Sean Connery reprising his iconic role as the suave British spy. Join us as we dissect the film's intense action sequences, explore the dynamic between Bond and his adversaries, and discuss the unique history behind this non-canonical Bond adventure. Discover how "Never Say Never Again" brings a fresh perspective to the world of 007, blending classic Bond charm with a touch of '80s flair. Get ready for a pulse-pounding discussion as we unravel the secrets and intrigue of "Never Say Never Again."

James Bond is back....sort of? A James Bond shaped outing in NEVER SAY NEVER AGAIN!  IP Rights Issues!  Competing Bonds!  A lack of the theme song!

This week on the Exciting & New podcast Jason, Andy and Dana welcome Dave back against his wishes as we discuss, for the 2nd time this year, Bond, James Bond with the 1983 spy thriller Never Say Never Again. Sean Connery is dragged out of retirement for this off-brand Bond movie where he looks like the old Bond (which if actually the much younger Bond) as he gets the girl, cathces the bad guy and probably cashes a really big check. For legal reasons this movie can't use all the usual Bond goodies, so it does feel a little off, but Kim Basinger (Bassinger?) and Bernie Casey join the nosense and have a good time. If you are a Bond fan, you'll enjoy this one, and then go back and listen to our Octopussy podcast we did earlier in the year.

Jason, Andy, Dana and Dave talk about what they are up to these days.Never Say Never Again with Bond, James, Bond, will be coming this Wednesday,

Time Warp 1983: 40th Anniversary Movies & Pop Culture Part 6: Never Say Never Again, A Christmas Story, The Day After, Star 80, All the Right Moves, The Right Stuff, & More! Watch the video on the Fandom Podcast Network YouTube Channel: https://www.youtube.com/c/FandomPodcastNetwork Audio Podcast Link:  https://fpnet.podbean.com/category/time-warp Welcome to the Fandom Podcast Network's 'Time Warp 1983': 40th Anniversary - Movies & Pop Culture Part 6! In this episode of Time Warp, your hosts Kevin, Kyle and Lacee will Time Travel back to the 80's, and look back on the pop culture, movies, TV, music and notable events of 1983, which are celebrating their 40th Anniversary in 2023! Here are the movies we cover in Time Warp: 1983 Part 6: October & November 1983. - Never Say Never Again - A Christmas Story - The Day After - Star 80 - All the Right Moves - The Right Stuff - Romantic Comedy - Rumble Fish - The Dead Zone - The Osterman Weekend - Under Fire - Going Berserk - The Wicked Lady - Deal of the Century - Testament - Nate and Hayes - A Night in Heaven - Yentl - Terms of Endearment Fandom Podcast Network Contact Information - The FANDOM PODCAST NETWORK YouTube Channel:  https://www.youtube.com/c/FandomPodcastNetwork - Master feed for all FPNet Audio Podcasts: http://fpnet.podbean.com/ - Facebook: https://www.facebook.com/Fandompodcastnetwork - Email: fandompodcastnetwork@gmail.com - Instagram: https://www.instagram.com/fandompodcastnetwork/ - Twitter: @fanpodnetwork / https://twitter.com/fanpodnetwork Time Warp Host Contact Info On Social Media: - Kevin Reitzel on Twitter (X) / Instagram & Threads: @spartan_phoenix - Kyle Wagner on Twitter (X): @AKyleW / Instagram & Threads: @Akylefandom - Lacee Aderhold on Twitter (X): @LaceePants / Instagram: @thelaceepants - Tee Public Fandom Podcast Network Store:  https://www.teepublic.com/stores/fandom-podcast-network

It's an annual tradition around this time, not only to celebrate Halloween with a little spooky movie talk, but also to give the fans what they want - the results of the 9th annual MikeTober Event.  It's not as big as the Lilith Fair, but bigger than Toyotathon ever hoped to be -- its Mikey watching five scary movies and ranking them from least to best. But first, Mikey, d$, and #XlessDrEarl welcome in Friend of the Show, Miss Independent himself, Jeremy Burgess, as Burgess catches everyone up on the latest with his film "Don't Die" as well as giving a few film recommendations that you may have not heard of. A little entertainment tonight, October B'day movies rolls in, including "Venom", "Never Say Never Again", "Kill Bill Vol 1" and even "Lassie Come Home", all celebrating birthdays in October.  Finally, the Stephen King Countdown. All the guys give their top five fave King adaptations, some horror, some sci-fi, some just great films... and some not so great.  We hope you get your own list of films to see! And then MikeTober pays off, as he gives his take on "The Decent" (d$'s pick)... "The Wailing" (Garrison)... "Cat People" (Burgess)... "The Wicker Man" (Dr. Earl)... "His House" (Roth from Wyoming)... "

This week we blow out the 40 birthday candles on Sean Connery's one-off return as James Bond in NEVER SAY NEVER AGAIN and Frances Ford Coppola's second film of the year, the mostly forgotten curio RUMBLE FISH. Please rate, like, and subscribe, and we'll be back next time to celebrate THE BIG 4-0's of Tom Cruise in ALL THE RIGHT MOVES (his second film of 1983, as we trace his trajectory to superstar status) and Christopher Walken (in his second film of 1983 as well) in David Cronenberg's (second film of 1983...) Stephen King adaptation (the second of 1983) THE DEAD ZONE.

This week on THE BIG 4-0, we welcome our third guest to the podcast, the lovely Ms. Ron, Kate. The three of us discuss how well the generational angst of THE BIG CHILL and the grimy slasher PIECES have aged. Please remember to rate, like, and subscribe, and we'll be back next week to celebrate the BIG 4-0's of Sean Connery's one-and-done return to Bond in NEVER SAY NEVER AGAIN, and Francis Ford Coppola's audacious THE OUTSIDERS parallel, RUMBLE FISH.

Never say Octopussy Again! In 1983 Connery and Moore had dueling double-o's in theaters. Why did this happen? Which one was better? Jovial Jay and Shua break down their memories and share some facts about more Bond stories on Enjoy Stuff!   We look back at the 40th anniversary of two James Bond movies that came out in the same year, with two different Bonds! Join us as we break down Never Say Never Again and Octopussy.    News Shua sad…no more Mario Kart Tour updates  HGTV sells ‘The Brady Bunch' House below $5.5M asking price Mickey Dolenz sings Shiny Happy People  Grab your Walther PPK, there's a new James Bond game coming  Star Tours getting another update with Ahsoka   Check out our TeePublic store for some enjoyable swag and all the latest fashion trends What we're Enjoying Shua is on a Potter kick right now from all his date nights at the Alamo with his wife. So he found a playlist on Spotify that includes music from the soundtracks of all eight movies. It's magical! Jay got to see a screening of The Big Lebowski at his local Warehouse Cinema. Their re-release schedules really bring the room together.   Enjoy Movies!  Due to legal issues, lawyers, stolen writing credits, and a variety of other boring behind the scenes issues, we got to see two, yes two, James Bond movies with the most iconic Bond actors in history. Sean Connery and Roger Moore both revise the the role in Never Say Never Again and Octopussy.    We break them both down, compare them with our own personal feelings about them, and share some of the history of how they both got made.    How do you feel about the dueling Bond movies? Which one do you like better? First person that emails me with the subject line, “Never Say Octopussy Again” will get a special mention on the show.  Let us know. Come talk to us in the Discord channel or send us an email to EnjoyStuff@RetroZap.com  

This week, Jonathan and Chris will be talking about the second Bond film that is not a part of Eon Productions; 1983's Never Say Never Again.EON FLUX (5:06)REVIEW TO A KILL (43:30)Email us at golddiamonddeath007@gmail.comFind us on Twitter:The Show - @goldspy007Jonathan - @samloomis13Join a community of CinemaSinners on the CinemaSins discord:www.discord.gg/cinemasinsWant extra privleges? Join the Sinclub! https://www.patreon.com/CinemaSinsJoin us on our next mission!

You've dealt with us commentating over some pretty bad non-official Bond films so why not another one? Because we're back for our commentary of the grand daddy of all the non-official Bond films, the 1983 movie that saw Sean Connery return to the role and create a battle we didn't know we needed, Never Say Never Again. Are we going to pay attention to this film this time? Are we going to be more complimentary than our last commentary? Did we realise that last line actually rhymed? Why are we so happy to wish Noah a happy birthday two months late? Do we remember the death by piss? Is this movie the movie that aged Sean Connery? Why is Colin so ready to commit assault in this movie? What promise has Ben broken to Noah? And what other movies do we want to watch instead of this? Brace yourself for another episode that you probably will be entertained but will also showcase why we're number 25 on the top 24 Bond podcasts on the internet! ★ Support this podcast on Patreon ★

Take a trip back to 1983, as Brad Garoon recommends that Jake Ziegler watch the uproarious comedy Trading Places, starring Eddie Murphy, Dan Aykroyd, and Jamie Lee Curtis, and directed by John Landis. Jake returns the favor by recommending Brad watch the worst James Bond film, Never Say Never Again. Drama unfolds. Important Links: Michael Shannon is a lucky boyMichael Shannon cooks Thunderball (1965), Rosemary's Baby (1968), The Man with the Golden Gun (1974), Tron (1982), Octopussy (1983), Mickey's Christmas Carol (1983), Neil Young: Live in Berlin (1983), Risky Business (1983), Cocoon (1985), Ferris Bueller's Day Off (1986), Homeward Bound (1993), 8 Mile (2002), A History of Violence (2005), Quantum of Solace (2008), Man of Steel (2013), Twin Peaks the Return (2017), Black Panther: Wakanda Forever (2022), The Flash (2023)

THIS WEEK ON DECK 78, join MARK A. ALTMAN (showrunner, author, writer/producer), DAREN DOCHTERMAN (associate producer, Star Trek: The Motion Picture - Director's Edition), ASHLEY E. MILLER (writer, Thor, X-Men: First Class) and STEVEN MELCHING (writer, DOTA: Dragon's Blood Star Wars Rebels) as they look back at 1983 and the infamous Battle of The Bonds as Roger Moore's OCTOPUSSY battled it out with Sean Connery's NEVER SAY NEVER AGAIN. Was it an all-time high? We'll make the call. Learn all that is learnable about Star Trek in Mark A. Altman & Edward Gross' THE FIFTY-YEAR MISSION, available in hardcover, paperback, digital and audio from St. Maritn's Press.  Follow Inglorious Treksperts at @inglorioustrek on Twitter, Facebook and at @inglorioustreksperts on Instagram. And now follow the Treksperts Briefing Room at @trekspertsBR, an entirely separate Twitter & Instagram feed. "Mark A. Altman is the world's foremost Trekspert" - Los Angeles Times #StarTrek #TOS #TAS #TNG #DS9 #VOY #ENT #DISCO #PICARD #LLAP #comics #IDW #Marvel #DC #GoldKey #Discovery #DeepSpaceNine #STTMP #StarWars  #CaptainPike #StrangeNewWorlds #55YearTour  #casting #ST55 #StarTrek55 #TheCage #StrangeNewWorlds #SNW #Voyager #Janeway #Robocop #Enterprise #TheSearchForSpock #StarTrekIII #BSG #TMP #Trekkies #Alien #Aliens #DavidFincher #BattleBeyondTheStars #Moonlighting #JohnSayles #Tarantino #BuckRogers

Really, 007! visited Oscar-winning sound editor Norman Wanstall who worked on 6 Bond films from Dr. No to Never Say Never Again. He tells us what it was like to be part of the original team who created the world of 007, including winning the Academy Award for Goldfinger...Thanks for listening - we think you'll love it too! Disclaimer: Really, 007! is an unofficial entity and is not affiliated with EON Productions, Metro-Goldwyn-Mayer Studios Inc. and Danjaq, LLC. Hosted on Acast. See acast.com/privacy for more information.

In this month's episode, Charlie and George are donning their tuxedos to celebrate the 40th anniversary of two competing Bond films, Octopussy and Never Say Never Again! Both Sir Roger and Sir Sean are back, and the brothers McGhee are excited to enjoy their company. The episode features a behind-the-scenes discussion regarding the complicated ownership of James Bond rights in cinema, dating back decades. The hosts also compare the strengths and weaknesses of both films, including casting choices and production values. As always, expect a plethora of bad impressions! Further reading As discussed in the episode, we recommend all Bond fans check out the following books, which massively helped our research:   Some Kind of Hero by Ajay Chowdhury and Matthew Field The Battle for Bond by Robert Sellers

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----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 finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, 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.

If you grew up in the '60s, '70s, or '80s, you will love StarPodLog!On this epic episode of StarPodLog, we consider the contents of Starlog magazine from 1983 in issues 67 and 68.It's Bond vs Bond as Matthew Kresal considers the backstory behind Sean Connery's Never Say Never Again, and Paul Meyers tells us what it was like to be on the set of Roger Moore's Octopussy!Lou, Rich, and Max discuss Superman III! Check out My Megolike: https:/mymegolike.com/The Professor Rick Delsanto and Johnny K9 give us the lowdown on the wrestling scene of 1983. Find out more about the PWZ Pro Wrestling Zone podcast at: https://m.facebook.com/profile.php/?id=100058599293478...and more on this episode of StarPodLog!Once again, we will be presenting panels as professional guests at Dragon Con in Atlanta, Georgia on Labor Day weekend!https://www.dragoncon.orgMonsterama! The incredible classic sci-fi and horror convention in Atlanta, Georgia returns on Halloween weekend.https://monsteramacon.com/Videogames, pinball, comic books, cosplay, and more at Music City Multicon October 27-29!https://musiccitymulticon.com/Don't forget to join our StarPodLog Facebook group:https://m.facebook.com/profile.php?id=469912916856743&ref=content_filterLove Starlog magazine?Join the Facebook group:https://m.facebook.com/profile.php?id=303578380105395&ref=content_filterSuscribe to our YouTube Channel “StarPodLog and StarPodTrek”:https://www.youtube.com/channel/UCgE_kNBWqnvTPAQODKZA1UgMusic used with permission by Foot Pound Force. Find us on Twitter and Instagram: @StarPodLog Reddit: u/StarPodTrek Visit us on Blogger at https://starpodlogpodcast.blogspot.com/ or iTunes or Spotify or wherever you listen to fine podcasts! If you cannot see the audio controls, listen/download the audio file here Download (right click, save as)

Kicking off Season 7 and the commemorating the King's Coronation with an "unofficial" Bondathon review... of the "unofficial" Bond movie Never Say Never Again!WARNING: This episode contains a vast  amount of spoilers so if you haven't seen Never Say Never Again and don't want to know what happens, go watch the movie and come back to the episode straight after!It's our usual run through & review, this time of Sean Connery's return to the role of the world's most famous spy. Alex, Jon & I discuss the gadgets, villains, Bond girls and all the key plot points... Is this the cinematic disaster we all expected, or were we all pleasantly surprised? Hit play and join us to find out!Enjoy!Get in touch! Got a particular Bond film you love? Would you like to be on the show to review and discuss it with Roberto and our co-hosts? Then what are you waiting for, get in touch!  Email Roberto at  tailoringtalkpodcast@gmail.com or get in touch via the show's  Instagram page @tailoringtalkpodcast ! Links:Roberto on Instagram http://www.instagram.com/robertorevillalondonTailoring Talk on Instagram http://www.instagram.com/tailoringtalkpodcastThe Play Pause Turn Podcast https://playpauseturn.showPlay Pause Turn on Twitter https://twitter.com/playpauseturnJon Evans https://twitter.com/jonprevans Alex Hansford https://twitter.com/alexhansfordCredits:Tailoring Talk intro and outro music by Wataboy on PixabayProduced & Edited by Roberto RevillaSupport the show

Half of April was taken up with our trip to Japan and we won't repeat anything about that here (see our three previous episodes for that). But even in the latter two weeks of the month, there has been a lot of Bond action, including our preparations for joining His Majesty's Secret Service (the Coronation and the new novel by Charlie Higson) and our big fundraiser for the year: Donate Another Day. We talk through the event, including what to expect, what to drink and (courtesy of Bond food expert and author Edward Biddulph) what to eat. We also discuss the importance of Bank Holidays and Bond - and Antony finally commits to watching Never Say Never Again after years of David trying to persuade him.

Aaron Abrams joins the Matts to discuss Never Say Never Again! Hosted on Acast. See acast.com/privacy for more information.

LBC: ELSEWORLDS! Episode 027: MI6 Rookie Agents ep25: Never Say Never Again BONUS Welcome to Longbox Crusade: ELSEWORLDS!  On Elseworlds we are releasing some podcasts that some (or all) of our members have been on, but these podcasts were originally released on other networks. So, yes this is partly an easy way to get more content on our feed, but also: we'd really appreciate it if you gave these other networks a try! This episode is a retro-rewind from the On Her Majesty's Secret Podcast Network!  Here's the original posted information for when this episode originally aired on Mar 23, 2020. ----------------------------------------------------------------------------------------- MI6 ROOKIE AGENTS returns! Starring Jarrod Alberich, The Yard Sale Artist - Jason Alberich - Delvin Williams - and Pat Sampson. Jarrod and Jason take a look at the Bond series through the eyes of their guests who are first-time (or first time in a long time) viewers new to James Bond, for an entirely different Bond perspective and experience. This episode: What do the newbies make of Never Say Never Again? The Alberich brothers are eliminating all free radicals, Pat is playing a world domination video game, and Delvin has just remembered that it's against our policy to hand out endorsements.- so all the bases are covered! Wanna be part of the show? EMail us your questions or comments - feel free to email us an audio file - to: OHMSPOD@outlook.com If you like our style AND you like comic books, check out the fellas on their other show: The Longbox Crusade at www.LongboxCrusade.com Be a part of the White Rocket Entertainment family by becoming a patron of the shows-we thank you by name on every episode: https://www.patreon.com/vanallenplexico Find links to everything we do at www.plexico.net ----------------------------------------------------------------------------------------- Be sure to check out all the other Longbox Crusade shows at: www.LongboxCrusade.com Let us know what you think! Leave a comment by sending an email to: contact@longboxcrusade.com This podcast is a member of the Longbox Crusade Network: LINKTREE: https://linktr.ee/longboxcrusade Follow on TWITTER: https://twitter.com/LongboxCrusade Follow on INSTAGRAM: https://www.instagram.com/longboxcrusade Like the FACEBOOK page: https://www.facebook.com/LongboxCrusade Subscribe to the YouTube Channel: https://goo.gl/4Lkhov Subscribe on Apple Podcasts at: https://itunes.apple.com/us/podcast/the-longboxcrusade/id1118783510?mt=2 Thank you for listening and we hope you have enjoyed this episode of Longbox Crusade: ELSEWORLDS! --- Send in a voice message: https://podcasters.spotify.com/pod/show/longbox-crusade/message

Have you ever tried to tie someone else's tie, as opposed to your own? Imagine trying to tie a turban on someone else! In this second part of my interview with Del Singh – ‘Turban Expert' to 1983's Octopussy – I ask how were turbans kept in order as men ran ontop of trains, and even clung to the outside of airplanes?  Del also tells me about the wonderful cast of the film; Kristina Wayborn (Magda), Stephan Berkoff (General Orlov), and the director John Glen. We discuss the place Octopussy has in the 007 rankings, especially against 1983's other Bond film, ‘Never Say Never Again' with Sean Connery. I also comment on why I am especially glad those turbans were right. Message me anytime on Instagram, or e-mail: AlbionNeverDies@gmail.comCheck out my https://www.youtube.com/britishcultureCheck out my Red Bubble shopSeveral subscribers have their postcards and other little 'thank you's in the post, randomly drawn from the list, and one has a free mug on the way!Subscribe to my newsletter: https://youtube.us9.list-manage.com/subscribe?u=b3afdae99897eebbf8ca022c8&id=5165536616 The Baby TribeA podcast dedicated to infant nutrition and health Listen on: Apple Podcasts SpotifySupport the show

Hambo finally returns to his James Bond Review Series. In this one it's the return of Sean Connery as James Bond in his 50's! in Never Say Never Again.

On this episode of The James Bond A-Z Podcast hosts Tom Butler and Brendan Duffy are joined by journalist Mark Harrison to do a deep dive into Q, the MI6 Quartermaster who has appeared in 22 out of the 25 Eon Bond films, as well as 1967's Casino Royale and 1983's Never Say Never Again. The episode takes a look at the history and origins of Q in the Ian Fleming novels, discussing his likely inspirations and early appearance in Dr No. We also take a look at the rich life and career of Desmond Llewelyn, the actor with the most appearances in the entire film series from 1963's From Russia With Love to 1999's The World Is Not Enough. We dig into the other incarnations of Q from Geoffrey Bayldon in Casino Royale to Alec McCowen in Never Say Never Again, and Ben Whishaw's modern take on the character. We're saving John Cleese's R for a later episode. It wouldn't be an episode on Q without discussing his many gadgets too, and we've also squeezed in a little quiz at the end for those that want to take part. If you want to take part in our 60th anniversary special, record a clip of yourself talking about your favourite, under-appreciated Bond movie moment and email the audio file (under 2 minutes please) to podcast@jamesbondatoz.co.uk. James Bond will return... in next week's James Bond's A-Z Podcast. Follow Mark Harrison on Twitter: https://twitter.com/MHarrison90 Support the show by buying us a coffee: ko-fi.com/jamesbondatoz Shop James Bond A-Z t-shirts and merchandise: the-james-bond-a-z-podcast.creator-spring.com/ Find us on Twitter: twitter.com/jamesbondatoz Find us on Instagram: instagram.com/jamesbondatoz Email us on: podcast@jamesbondatoz.co.uk Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

GGACP celebrates the 15th anniversary of the Pixar masterpiece "Ratatouille" (released June 29, 2007) by revisiting this 2-part interview with Oscar-winning writer-director Brad Bird and Oscar-winning composer Michael Giacchino. Also in this episode, the Brad and Michael discuss their various collaborations ("The Incredibles," "Incredibles 2," "Mission Impossible - Ghost Protocol") complex action plots, "pre-loved" soundtracks, the demise of movie showplaces and the genius of John Barry and Elmer Bernstein. Also, Peter O'Toole clears his throat, Tom Cruise scales a high-rise, Burt Lancaster swims in an imaginary river and Michael Keaton pokes fun at comic book fanatics. PLUS: "The Big Sleep"! "Never Say Never Again"! The lost James L. Brooks musical! Brad co-hosts TCM's "The Essentials"! And Michael composes a love letter to Henry Mancini, Lalo Schifrin and John Williams! Special thanks to audio producer John Murray and Curtis Green Learn more about your ad choices. Visit megaphone.fm/adchoices