Podcasts about Peter Greenaway

Welcome to our latest festival! This week we kick off our Peter Greenaway festival with his wild and rambunctious 1988 film, Drowning By Numbers. Watch out for those Cissie's! Three generations of women continue to have marriage troubles that are far too similar in this oversexed comedy that laughs at death. Wes Anderson owes this guy some royalties! Great conversation, enjoy!

Ute Lemper is an internationally celebrated German singer and actress. She first gained international acclaim playing Sally Bowles in Cabaret in Paris, a performance that earned her the Molière Award for Best Newcomer. She went on to star as Velma Kelly in Chicago in both the West End and on Broadway, winning the Olivier Award for Best Actress in a Musical and a Theatre World Award. Her early career also included key roles in Cats in Vienna and Peter Pan and The Blue Angel in Berlin. Ute has become an international cabaret icon, renowned for her interpretations of Kurt Weill, Marlene Dietrich, Édith Piaf, and Astor Piazzolla. She has performed at prestigious venues such as La Scala, Lincoln Center, and the Sydney Opera House. Her recording career includes over 30 albums, with standout projects like Ute Lemper Sings Kurt Weill, Illusions, and Punishing Kiss, featuring songs by Elvis Costello, Tom Waits, and Nick Cave. She was named Billboard's Crossover Artist of the Year in 1993/94. Her film work includes notable roles in L'Autrichienne as Marie Antoinette, Peter Greenaway's Prospero's Books, and Prêt-à-Porter. She also provided the German voice for Ariel in Disney's The Little Mermaid and Esmeralda in The Hunchback of Notre Dame. With multiple Grammy nominations and a ballet created for her by Maurice Béjart, Ute Lemper remains one of the most dynamic and influential performers of her generation .Ute Lemper is our guest in episode 499 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .For Ute Lemper's concert dates and tickets, music and videos, visit - https://www.utelemper.comFollow Ute Lemper on Instagram: @utelemperFollow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Hosted on Acast. See acast.com/privacy for more information.

In episode 39, Johnny talks to fellow record collector and movie nut Helen Howcroft. Helen lives in Christchurch, New Zealand and is a big fan of the Beastie Boys, all things that groove, and gangster movies. Their chat includes an in-depth look at the films of Martin Scorsese, David Lynch and Peter Greenaway, they discuss those weird saloon doors in New Zealand video stores, and they talk about whether it's morally acceptable to show your child The Adventures Of Milo And Otis.This conversation was recorded online in late-March of 2025.Thanks to James Van As who wrote and performed the brilliant podcast music (check out James' ⁠Loco Looper⁠ game) and to Willow Van As who designed the amazing artwork and provided general podcast support.You can contact My Movie DNA on Facebook, Instagram or Twitter @mymovieDNA or email mymovieDNA@gmail.com.Check out Johnny's new podcast series, 500 Films: A Journey Through Genre Cinema, available wherever you get your podcasts.

durée : 01:30:55 - Les Nuits de France Culture - par : Antoine Dhulster - "L'Europe a des oreilles" ou quand l'Atelier de Création Radiophonique imaginait une soirée électorale originale pour les élections européennes de 2004. En direct du studio 105, ce multiplex avec sept radios européennes donnait à entendre Jean-Luc Godard, Lidia Jorge, Peter Greenaway... - réalisation : Virginie Mourthé - invités : Jean-Luc Godard Réalisateur; Peter Greenaway; Laurie Anderson; Lidia Jorge Romancière portugaise; Jovan Divjak Général; Dominique Gonzalez-Foerster

This week, Josh and Drusilla are joined by dear friend, Jose Gallegos, to discuss Peter Greenaway's The Cook, The Thief, His Wife, and Her Lover (1989). From wiki: “The Cook, the Thief, His Wife & Her Lover is a 1989 crime drama art film written and directed by Peter Greenaway, starring Richard Bohringer, Michael Gambon, Helen Mirren and Alan Howard in the title roles. An international co-production of the United Kingdom and France, the film's graphic violence and nude scenes, as well as its lavish cinematography and formalism, were noted at the time of its release.”You can watch the movie here: https://archive.org/details/the-cook-the-thief-his-wife-her-lover-peter-greenaway-1989-1 Also discussed: Daughter of Darkness (1948), The Visit (1964), Mike Leigh's Naked, Lars von Trier, vertical content, Studio Ghibli AI, sound stage aesthetics, and more. NEXT WEEK: Deliverance (1972)Follow them across the internet: Jose Gallegos:https://www.instagram.com/criterionoop/https://letterboxd.com/criterionoop/ Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://bsky.app/profile/joshuaconkel.bsky.socialhttps://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/   

Peter Greenaway's 1989 deliciously wicked exotic black comedic fable, THE COOK, THE THIEF, HIS WIFE & HER LOVER, is our feature presentation this week. We talk the composition & color palette of Peter Greenaway, Helen Mirren & Michael Gambon, the sex and gluttony at the heart of the film, and much more! We also pick our TOP 7 FOOD MOMENT IN MOVIES in this week's SILVER SCREEN 7. Join our Patreon ($2.99/month) here theturnbuckletavern.com to watch the episodes LIVE in video form day/weeks early. Find us on Instagram @thebrokenvcr and follow us on LetterBoxd! Become a regular here at THE BROKEN VCR! 

Peter Greenaway's stylized exploration of the creation of Rembrandt's “Night Watch”

Dust off your ruffs and merkins! It's time for Scott and Marty and You to screw your courage to the sticking place, and check out some of Shakespeare's weirdest cinematic outings. Feast thine ears:Chimes at Midnight  (1966, Dir. Orson Welles) at 2:48Throne of Blood (1957, Dir. Akira Kurosawa) at 20:27Prospero's Books (1991, Dir. Peter Greenaway) at 35:2010 Things I Hate About You (1999, Dir. Gil Junger) at 56:30PLUS! Continuity Boulevard at 1:12:58, and the Lightning Round at 1:24:14Follow us on Spotify, Apple Podcasts, Google Podcasts, or Amazon Music.Visit us at slackandslashpod.comEmail us at slackandslash@gmail.com

This week, Josh and Drusilla discuss Michael Mann's troubled, previously hard-to-see The Keep. From wiki: “The Keep is a 1983 supernatural horror film written and directed by Michael Mann and starring Scott Glenn, Gabriel Byrne, Jürgen Prochnow, Alberta Watson, and Ian McKellen. Set in Romania during World War II, it follows a group of Nazi soldiers who unleash a malevolent supernatural force after setting up camp in an ancient stone fortress in the Carpathian Mountains. It is an adaptation of the 1981 novel of the same title by American writer F. Paul Wilson.[5] The musical score was composed by Tangerine Dream.”Also discussed: Wolf's Hole (1987), Penance by Eliza Clark, more Peter Greenaway with The Draughtsman's Contract, Philomena Cunk, Taskmaster, The Devils, Ian McKellen, Gabriel Byrne, tv versions of Ace Ventura or The Breakfast Club, Miami Vice, Sorcerer, Porky's, and more. NEXT WEEK: Queen of Spades (1949) Follow them across the internet:Bloodhaus: https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/ Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

Czechoslovak Gothic drama film directed by Juraj Herz, based on a novel by Alexander Grin, Jessie and Morgiana (1929, Wikisource: Джесси и Моргиана).[1] The story is about two sisters, Klara and Viktoria, and the jealousy that overcomes Viktoria when her sister inherits most of their father's property. When Klara becomes involved with a man that her sister loves, Viktoria begins to plot her murder .The roles of both sisters are played by the actress Iva Janžurová.[2]”Also discussed: CEO shootings, following up on John Carpenter and The Eyes of Laura Mars, Peter Greenaway and Drowning by Numbers, Ghost Stories for Christmas on Shudder, Christmas is goth, Salem Horror Fest, Kier-la Janisse, the Czech new wave, and more.  NEXT WEEK: Under the Skin (2013) Follow them across the internet:Bloodhaus: https://www.bloodhauspod.com/https://www.instagram.com/bloodhauspod/Drusilla Adeline:https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/https://www.instagram.com/sister__hyde/Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/https://bsky.app/profile/joshuaconkel.bsky.social 

Prendendo spunto dalla sua presenza alla 81a Mostra del Cinema con il film Broken Rage, parliamo del cinema “divino e unico” del regista giapponese Takeshi Kitano. Nella prima parte, quelle delle notizie, parliamo del Gran Festival del Cinema Muto di Milano, della nuova edizione del Festival Internazionale del Cinema di San Sebastian e di due notizie sul cinema provenienti dalla città del Museo del Cinema, Torino. Qui il riassunto della puntata: 01:01 News. Presentazione della 15a edizione del Gran Festival del Cinema Muto di Milano in programma dal 23 settembre all'11 dicembre. Questo il sito in cui potete trovare tutte le informazioni sugli spettacoli http://www.cinemamuto.it/03:20 News. Presentazione della 72a edizione del Festival Internazionale del Cinema di San Sebastian https://www.sansebastianfestival.com/in/ 05:46 News. Due notizie che riguardano il cinema e Torino. Carlo Chatrian è il nuovo direttore del Museo Nazionale del Cinema e lo stesso museo ha omaggiato con il premio Stella della Mole il regista inglese Peter Greenaway.  08:36 La Luce del Cinema di Takeshi Kitano. Film analizzati: Violent Cop; Boiling Point; Il silenzio sul mare; Sonatine; Getting Any?; Kids Return; Hana-Bi - Fiori di fuoco; L'estate di Kikujiro; Brother; Dolls; Zatoichi; Takeshis'; Glory To The Filmmaker!; Achille e la tartaruga; Outrage; Outrage Beyond; Outrage Coda; Kubi.

Critic and culture writer Brandon Streussnig glams up the pod with his pick Du Jour for the Contemporary Costumes program, 2001's "teen comedy" cult classic Josie and the Pussycats. Before he, Joshua, and Katharine break down all the fashions, all the pr

Il premio Strega riesce ancora a premiare la migliore letteratura italiana? Analisi dei sei romanzi finalisti. Viva la libertad è un libro fotografico che raccoglie 22 storie di mobilitazioni e di proteste in tutto il mondo. Arriva in Italia per due concerti la cantante Jazz statunitense Cécile McLorin Salvant. A Napoli s'inaugura la stazione della metropolitana Chiaia con un allestimento molto barocco del regista Peter Greenaway. CONGiuliano Milani, storicoRosy Santella, photo editor di InternazionaleDaniele Cassandro, giornalistaLucia Tozzi, studiosa di politiche urbane e giornalistaSe ascolti questo podcast e ti piace, abbonati a Internazionale. È un modo concreto per sostenerci e per aiutarci a garantire ogni giorno un'informazione di qualità. Vai su internazionale.it/podcastScrivi a podcast@internazionale.it o manda un vocale a +39 3347063050Produzione di Claudio Balboni e Vincenzo De Simone.Musiche di Carlo Madaghiele, Raffaele Scogna, Jonathan Zenti e Giacomo Zorzi.Direzione creativa di Jonathan Zenti.Premio Strega: https://www.facebook.com/raicultura.it/videos/video-cult-elsa-morante-vince-lo-strega/3096707127022228/Viva la Libertad: https://www.youtube.com/watch?v=-FQHFSfMRxACécile McLorin Salvant: https://www.youtube.com/watch?v=B7rlDigIVogMetro di Napoli: https://www.youtube.com/watch?v=0O_Ev-8N3FE

Continuing down the "I ain't reading all of that" interview series with a very special guest bound to be a cult household classic Dan Spencer is a musician and songwriter who released my favorite album of the year Return To Your Dark Master. He's also a longtime Contain listener (to my surprise) and a very knowledgable and thoughtful guy who went from Mortuary school to playing the CMA country fest and Bonnaroo. We talk Nouveau Roman literature, Peter Greenaway, and slipping obscure interests into songwriting sessions with Post Malone and Brad Paisley. Other topics: the hidden Universalist sects of the Appalachias known as the ‘No-Hellers', how the modern music industry works, vampires, being around death in the Mortuary, the promise of Utopia and communities forming around it, Brian J.L Berry, listening to the Sun City Girls on acid in the sun, blood covenants, Our Lady of the Flowers by Jean Genet, Djent Country Music hybridization factor, keys to lyrics, quitting drinking, primitive Baptists, Dickey Betts (RIP + SKYDOG), a brief history of Cookeville, Tennessee, and much more Listen to Return To Your Dark Master and see Dan on tour

durée : 01:30:55 - Les Nuits de France Culture - par : Antoine Dhulster - "L'Europe a des oreilles" ou quand l'Atelier de Création Radiophonique imaginait une soirée électorale originale pour les élections européennes de 2004. En direct du studio 105, ce multiplex avec sept radios européennes donnait à entendre Jean-Luc Godard, Lidia Jorge, Peter Greenaway... - réalisation : Virginie Mourthé - invités : Jean-Luc Godard Réalisateur; Peter Greenaway; Laurie Anderson; Lidia Jorge Romancière portugaise; Jovan Divjak Général; Dominique Gonzalez-Foerster

durée : 01:31:00 - Les Nuits de France Culture - par : Philippe Garbit - "L'Europe a des oreilles" ou quand l'Atelier de Création Radiophonique imaginait une soirée électorale originale pour les élections européennes de 2004. En direct du studio 105, ce multiplex avec sept radios européennes donnait à entendre Jean-Luc Godard, Lidia Jorge, Peter Greenaway... - invités : Jean-Luc Godard Réalisateur; Peter Greenaway; Laurie Anderson; Lidia Jorge Romancière portugaise; Jovan Divjak Général; Dominique Gonzalez-Foerster

Happy Memorial Day! This week the hosts Joshua Conkel and Drusilla Adeline are joined by filmmaker and host of Specter Cinema Club,  DeVaughn Taylor! They discuss the Darren Aronofsky joint, Mother! (2017). They also discuss all things Mad Max, Memorial Day, ranking John Waters films, Peter Greenaway's The Falls, This is Me Now, Fade to Black (1980), and more! From wiki: “Mother! (stylized as mother!) is a 2017 American fantasy drama[1] film written and directed by Darren Aronofsky, and starring Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Domhnall Gleeson, Brian Gleeson, and Kristen Wiig. Its plot, inspired by the Bible, follows a young woman whose tranquil life with her husband at their country home is disrupted by the arrival of a mysterious couple.”NEXT WEEK: The House that Screamed  (1969)Follow them across the internet:Bloodhaus:https://www.bloodhauspod.com/https://twitter.com/BloodhausPodhttps://www.instagram.com/bloodhauspod/DeVaughn Taylorhttps://x.com/_daddydiscohttps://x.com/spectercinemaDrusilla Adeline: https://www.sisterhydedesign.com/https://letterboxd.com/sisterhyde/ Joshua Conkelhttps://www.joshuaconkel.com/https://www.instagram.com/joshua_conkel/https://letterboxd.com/JoshuaConkel/ 

But was it really a threesome? Luca Guadagnino's latest, Challengers, is the main dish this week paired with Peter Greenaway's A Zed & Two Noughts. Did either satisfy? Guest comedian Riley Pena sits in with us to parse the many details. Beers by Corpus Christi, TX, breweries Lazy Beach Brewing and Rebel Toad Brewing Co. Don't miss this week's Joe-only After Hours that helps fill in the details: http://www.patreon.com/beerandamoviepodcast. 

I avoided Peter Greenaway's film “The Pillow Book” while hunting for material for this show. Instead, I used different recitations in English and Japanese. I included recordings…

En aquest episodi, un especial de Michael Nyman, el mestre de la m

Find Carmelita:https://twitter.com/CarmelitaSayshttps://letterboxd.com/carmelitasays/Find Sarah Marshall:marshallshautesauce.comhttps://www.instagram.com/spicymarshall/Find Dirk and support the show:https://www.patreon.com/vhushttps://vhuspodcast.threadless.comhttps://www.instagram.com/vhus_podcast/ 

In this episode, Ralph and Owen journey into the spectral wastes of British film, asking: what went wrong, and what is to be done? Through kitchen sink realism, folk-horror spooks, socially-engaged documentarians, materially-inclined avant-gardism, and more than a handful of oddballs, the situation seems as underwhelming as it was in 1927, when Kenneth Macpherson opined that “it is no good pretending one has any feeling of hope about it”. Ninety-seven years later, is the landscape still as dispiriting – and why did ‘we' never get our own New Wave – and why are we still stuck in the kitchen sink? Through cash, ‘character', class, and capital, there's a lot to unpick. Regardless, the boys do their best to keep the aspidistra flying. Who do they discuss? Who don't they! Anderson, Macpherson, Grierson, Hogg, Keillor, Reisz, Clark, Watkins, Jarman, Brook, Greenaway, Powell & Pressburger, Reed, Lean, Hitchcock, Loach, Leigh. The lot. 00:00:00:00 Intro 00:04:20:04 Early Silent British film 00:05:27:03 Talent leaving Britain for America 00:06:52:14 British documentaries and municipal filmmaking 00:09:09:17 The Studios of the interwar years 00:12:01:16 Powell and Pressburger 00:15:22:14 Class and politics in film 00:17:56:16 Free Cinema movement 00:24:30:13 Woodfall 00:28:15:05 The Third Man 00:30:37:10 60s-70s studio films/Merchant Ivory 00:31:54:13 60s counterculture 00:35:12:00 Folk horror 00:37:04:09 London Filmmakers Coop 00:48:04:15 Playwrights 00:55:27:00 The Paternalism of Social Realism 01:00:11:03 Pedro Costa as a counterpoint to social realism 01:04:16:13 Peter Watkins 01:09:47:05 Lindsay Anderson making an arse of himself 01:10:55:10 Peter Wollen's 1963 essay on the British New Wave 01:13:10:09 Kenneth MacPherson's 1927 article about British film 01:19:02:16 TV's influence in the 70s-80s 01:19:16:09 Alan Clarke 01:23:05:18 Sally Potter 01:30:10:24 Peter Brook 01:31:47:19 90s 01:32:34:21 British art film/essay films 01:37:09:20 00s and 10s 01:40:06:10 Joanna Hogg 01:43:08:18 Borderline (Kenneth Macpherson) 01:48:13:19 Peter Greenaway 01:55:09:09 Top 5 worst tendencies 01:57:31:14 Alternative Top 5 British films 01:59:59:23 Conclusion Listen on Spotify: https://open.spotify.com/show/6hdAjXtGPpeQTCcuJ3KNmH?si=Ud_f__90TOSa28tzYPA5GQ Listen on Apple: https://podcasts.apple.com/gb/podcast/muub-tube/id1515030490 Watch on Youtube: https://www.youtube.com/@returntoformpod

In what ways can we be nourished by the foreign? Can encountering high culture ever reveal our brutish side? How delicate is the balance between admiring and owning? In exploring three cinematic depictions of food, this week's episode contemplates the ways in which people give themselves to and take a piece of others. Email us at contact@jimmybernasconi.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/2xxfm-sacredcinema/message

With Horrortober 9 in the rearview, we take a quick jaunt into food films with an amended month of two classic food films, closing with The Cook, The Thief, His Wife & Her Lover. Noise Junkie's Heather Drain and Dark Destinations' Father Malone join the episode to talk about the production design, Peter Greenaway, and that finale.Directed by Peter Greenaway, it tells the story of the ruthless Albert Spica, played by Michael Gambon, a crime boss who takes over a fine-dining restaurant only to have his wife, played by Helen Mirren, fall in lovely with a regular customer behind his back. What follows must be witnessed to be believed; from the performances to the set design, it's a truly one of a kind film experience.For more Kulturecast episodes and podcasts guaranteed to be your new favorite audio obsession, check out Weirding Way Media at weirdingwaymedia.com.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2883470/advertisement

Gay homosexuals Nick and Joseph discuss ⁠⁠⁠⁠⁠The Cook, the Thief, His Wife & Her Lover - a 1989 crime drama art film written and directed by Peter Greenaway, starring Richard Bohringer, Michael Gambon, Helen Mirren and Alan Howard Additional topics include: -Atlantis Cruise -Keith Lee -The deaths of Richard Moll, Matthew Perry, and Richard Roundtree -And too many films to mention Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Visit their website at www.fishjellyfilms.com Find their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767 Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms) Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/ Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson --- Support this podcast: https://podcasters.spotify.com/pod/show/fish-jelly/support

I am delighted to host Prof. Judith, an expert on the transformative intersections of art and esotericism. Our conversation orbits around the enigmatic and evocative works of Kenneth Anger, an avant-garde filmmaker whose oeuvre plunges into the depths of magical practice and occult symbolism. Kenneth Anger, a central figure in both underground cinema and modern esotericism, has mesmerised audiences with films like "Lucifer Rising" and "Inauguration of the Pleasure Dome." His work melds ritualistic elements with visual storytelling, offering an innovative exploration of how art can serve as a conduit for magical intent. About our guest Judith Noble is Professor of Film and the Occult at Arts University Plymouth (UK). She began her career as an artist filmmaker, exhibiting work internationally and worked for over twenty years as a production executive in the film industry, working with directors including Peter Greenaway and Amma Asante. Her current research centres on artists' moving image, Surrealism, the occult and work by women artists, and she has published on filmmakers including Maya Deren, Derek Jarman and Kenneth Anger. Her most recent publication (as editor) is The Dance of Moon and Sun – Ithell Colquhoun, British Women and Surrealism (2023, Fulgur). She continues to practice as an artist and filmmaker; her most recent film is Fire Spells (2022), a collaboration with director Tom Chick. Her recent work can be found at www.iseu.space. Her film work is distributed by Cinenova. CONNECT & SUPPORT

When you love cinema, it's fascinating how some of your favorite moviemakers are beloved by a small passionate group of "in the know" fans and other of your favorite moviemakers appeal to the entire world including your grandparents who know nothing about the film world. What defines the "art house" versus the "blockbuster" sensibility? If you're a moviemaker, where does your sensibility ultimately land? Does it help to be know? Is it even productive to think in these terms? Secret Movie Club founder.programmer Craig Hammill takes a look at a number of filmmaker sensibilities including those of Peter Greenaway, James Cameron, Satyajit Ray, Kelly Reichhardt, and Francis Ford Coppola. All have achieved success and longevity to wildly different audiences. 

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.

Ellen E Jones and Mark Kermode delve into the relationship between gaming and the movies, with help from a crack squad of video game experts. Mark is joined by pop culture critic Kayleigh Donaldson, who helps guide him through the messy and complicated history of game adaptations on the big screen, from Super Mario Bros to Doom. He also speaks to Duncan Jones, director of the first video game film to cross $400m at the international box office - 2016's Warcraft. They discuss the challenges of adapting the cult role-playing game for a cinema audience. And Ellen asks the big question of whether video games can be considered an art form on the same level as film. To help her on her quest, she first speaks to critic Kambole Campell about why games get called 'cinematic' and whether the gaming world has auteurs. Ellen then talks to cinephile and game director Sam Barlow, about his highly successful - and highly innovative - video games Her Story, Telling Lies and Immortality. Sam explains how experimental directors like Nicolas Roeg and Peter Greenaway have influenced his work, which employs live footage of actors, rather than motion capture or graphics. Producer: Jane Long A Prospect Street production for BBC Radio 4

Venezia 2023: I denne fjerde episoden fra årets filmfestival i Venezia snakker vi om vinneren av Gulløven – Yorgos Lanthimos' elleville erotiske eventyr Poor Things, med Emma Stone i hovedrollen. Poor Things er basert på Alasdair Grays roman ved samme navn, og forteller om Bella Baxters coming of age-opplevelser. Bella er en voksen kropp med barnehjerne, et eksperiment signert den geniale legen og oppfinneren Godwin aka God (Willem Dafoe). Når hun oppdager sin seksualitet og entrer en opprørsk ungdomsfase, stiller hun spørsmål ved alle vedtatte sannheter og kulturelle normer på sin ferd ut i verden. Slikt blir det gøyal film av, og som erotisk eventyr kan Poor Things minne om kreasjonene til Walerian Borowczyk og Peter Greenaway. Den visuelle utformingen sender tankene til Terry Gilliam og Jeunet & Caro. Dette er en film man bør vite minst mulig om før man ser den, så panelet holder kortene tett til brystet og unngår spoilere. Det gjør at vi også får tid til å sneie innom noen av andre rariteter fra festivalløypa på Lido, som Luc Bessons DogMan og Harmony Korines Aggro Dr1ft. Ved mikrofonene sitter Karsten Meinich, Lars Ole Kristiansen, Truls Foss og Andrea Skotland. God lytting!

Erin and Paul review PAST LIVES, WHAT'S LOVE GOT TO DO WITH IT?, and SHIN KAMEN RIDER, and Michael Mann's novel HEAT 2 before revisiting MIAMI VICE, KLUTE, and two films each from Park Chan-Wook and Peter Greenaway.

Today we're joined by Bilge Ebiri, one of the country's leading film critics for Vulture and New York Magazine, to tackle Peter Greenaway's most disturbing film. The British director may be best known for his 1989 arthouse classic THE COOK, THE THIEF, HIS WIFE & HER LOVER, but he made several other singular, controversial, and often shocking films in the 80's and 90's. Perhaps the most shocking of all is 1993's THE BABY OF MÂCON, which distributors found so disturbing that it wasn't seen for years in the U.S. and has still never had an official North American release. Now that it can finally be streamed, we see what all the fuss is about and if there's any saving this baby from the bathwater. You can find more from Bilge at https://www.vulture.com/author/bilge-ebiri/ Unwatchables is hosted by Marc Dottavio and Seth Troyer, produced by Tony Scarpitti, featuring artwork by Micah Kraus. You can support us on Patreon at ⁠⁠⁠⁠⁠⁠https://www.patreon.com/unwatchables⁠⁠⁠⁠⁠⁠ to get access to exclusive bonus content and weigh in on what we watch next. Find us online at www.unwatchablespod.com or shoot us an email at unwatchablespodcast@gmail.com. We're on Instagram and Twitter under @unwatchablespod. --- Send in a voice message: https://podcasters.spotify.com/pod/show/unwatchablespod/message

Ooft! This ended up being a long one. Our first (and certainly not last) foray into the work of Peter Greenaway and arguably his most accessible motion picture and contender for the most literal title in cinema history: THE COOK, THE THIEF, HIS WIFE & HER LOVER. It's got Michael Gambon! It's got Helen Mirren! It's got Cockney up the gills, firing at a pace so fast, you'll be screaming for subtitles (well, Laura did anyway). We've welcomed back Kat from Uncomfortable Brunch on her first solo mission to aid in dismantling and examining this seminal work. Strap yourself in, this is a long but ultimately definitive coverage of one of the most interesting films in the pantheon of our On the BiTTE series!

Peter Sobczynski joins Erik Childress again for this week's Blu-ray haul. They include the first film by Barry Jenkins along with titles from Peter Greenaway and Guy Maddin. The list is filled with films that may not be everyone's cup of tea including some outdated racial casting, a little horror sensation from this year, a Cameron Crowe remake and in our case, Avatar. But that's why you also get some Rin Tin Tin and two of the best films in the career of John Frankenheimer including a film that went into hiding for 25 years and one of the best action films of the past 25.   0:00 - Intro 1:04 - Criterion (Medicine for Melancholy, The Servant) 8:56 - Zeitgeist (A Zed & Two Noughts and The Falls: Two Films by Peter Greenaway) 13:02 - IFC (Skinamarink) 16:18 - Sony (Insidious (4K Steelbook)) 21:55 - Fox (Avatar: The Way of Water (4K)) 26:33 - Paramount (Vanilla Sky (4K)) 30:36 - Arrow Films (The Game Trilogy (1978-1979)) 33:17 - Kino (Mr. Wong Collection (1938-1940), Tales From the Gimli Hospital Redux, Clash of the Wolves / Where the North Begins, The Bridges at Toko-Ri, The Manchurian Candidate (1962) (4K), Ronin (4K)) 59:44 – New Blu-Ray Announcements 1:01:32 - Outro

From Stephen King ripoffs and champagne-drinking birds to art documentaries and dueling werewolf flicks, from Peter Greenaway to Takashi Miike, from Jimmy Stewart to Gong Li, once again, it's a slice of something for everybody as we review another month of viewing in the Ludicrously Specific household! (Note: any resemblance to an actual household is purely coincidental.)

Some genuine classics on physical media this week getting the 4K treatment. And others that are not. Peter Sobczynski joins Erik Childress to get you caught up on your libraries including Memorial Day releases from 1991 and 1993. One of the great singular directorial efforts of all-time arrives in 4K as does one of the classics from a comic legend. One of the best from Wes Craven gets the polish and there are also plenty of other titles from Alan Rudolph, Sidney Lumet, Peter Greenaway and Looney Tunes to keep you busy while Erik is relishing one of his favorite films from the summer of 1984 and you can listen to his full commentary track right here. 0:00 - Intro 1:08 - Criterion (Thelma & Louise) 6:25 - Severin (Drowning by Numbers, Danza Macabra Vol. One: The Italian Gothic Collection) 13:37 - Warner Archive (Looney Tunes Collector's Choice: Volume 1, Hey There Its Yogi Bear, King Solomon's Mines) 22:40 - Kino (Film Noir: The Dark Side of Cinema XIV, The Night of the Hunter (4K)) 30:28 - Universal (Inside, Spinning Gold) 39:48 - Sony (65 (4K),Cliffhanger (4K)) 45:08 - Paramount (Dungeons & Dragons: Honor Among Thieves (4K), Transformers Ultimate 6-Movie Collection (4K Steelbook), The Nutty Professor (1963) (4K)) 55:28 - Shout! Factory (Trouble In Mind, The Morning After, The Haunting (1999) (4K), The People Under the Stairs (4K))     1:09:18 - Arrow Films (The Last Starfighter (4K)) 1:14:40 – New Blu-ray Announcements

The last few years have seen several new restorations of the films of Peter Greenaway, the British director known for classics like The Draughtsman's Contract and The Cook, the Thief, His Wife & Her Lover. His films are formally exacting and erudite, yet full of play and perversion, and are as provocative today as they were upon release. The latest Greenaway film to receive a restoration is Drowning by Numbers, which has just been re-released by Severin Films on Blu-Ray. Made in 1988, the film is a metaphysical puzzle, equal parts fairy tale and process piece. The story follows three women—a mother, her daughter, and her niece—all named Cissie Colpitts, as they drown their husbands one by one. They cover up their crimes with the help of local coroner Madgett and his son Smut, both of whom are obsessed with games of all stripes—moral, athletic, mathematical. Shot by Greenaway's frequent collaborator Sacha Vierny, Drowning by Numbers is one of the best of the director's 80s features, as clinical as it is maximalist. A couple weeks ago, FC Co-Deputy Editors Devika Girish and Clinton Krute called up Greenaway on Zoom for a freewheeling conversation about his memories of making the film, his long career, and his thoughts on mortality and art.

Op 23 maart verschijnt de documentaire Het zit in mijn hart van Saskia Boddeke. Een film gebaseerd op de voorstelling Furia van theatergroep KamaK, bestaande uit professionele acteurs met een verstandelijke beperking. Een barok, op rijm geschreven, sprookje over moord, doodslag en erotiek met als leidraad de zeven hoofdzonden. Boddeke is de vrouw van Peter Greenaway. Presentatie: Frénk van der Linden 

Join us as we break down our March 2023 releases! The Severin Films gang talk about the Worldwide 4K UHD debut of Peter Greenaway's contravercial masterpiece DROWNING BY NUMBERS, including exclusive insight and stories about his brief stint in America and the race to get him for bonus features. Afterward, Kat Ellinger joins to break down the DANZA MACABRA Italian Gothic Collection (Lady Frankenstein / Scream of the Demon Lover / The Seventh Grave / Monster of the Opera) including multiple worldwide debuts and US debuts! As always, DJ Alfonso is here to treat your ears to a playlist inspired by this months announcement. This month is sure to please Severin loyalists and art fans alike!

Uli worked in several European art departments for Enki Bilal or Peter Greenaway, and Uli designed German feature films with directors including: Leander Haussmann, Oliver Hirschbiegel or Sonke Wortmann. Uli has collaborated with director Tom Tykwer on several films, including: Winter Sleepers, Perfume: The Story Of A Murderer, A Hologram For The King, and Cloud Atlas, co-directed by The Wachowskis. Uli's film work includes: Perfume: The Story Of A Murderer, The International, Cloud Atlas, In Secret, and A Hologram For The King. Uli's television work includes work on the acclaimed: Sense8, The Queen's Gambit, and Babylon Berlin.

 Actor and filmmaker Karen Knox -- whom you may know from Slo Pitch, Barbelle and Homeschooled, among others, and whose first feature Adult Adoption opens in Toronto this Saturday and in London and Vancouver next week, is here to make a meal of Peter Greenaway's baroque 1989 breakthrough The Cook, the Thief, His Wife and Her Lover, in which  Richard Bohringer, Michael Gambon, Helen Mirren and Alan Howard play four people whose lives intersect at a very fancy London restaurant, with spectacularly tragic results. Your genial host Norm Wilner has a napkin round his neck already.

We head to the kitchen this week to take on two films that take the world of fine dining as their settings. Our first course is a new release, The Menu, starring Ralph Fiennes as a legendary chef known for creating multi-course meals that tell stories for his elite clientele. The second is Peter Greenaway's notoriously decadent and stylized The Cook, The Thief, His Wife, and Her Lover, a film that succeeded with audiences in its initial release despite (because of?) the threat of an X-rating. Joining us for this cinematic feast is returning BaaM guest, Harold Ramos, an Executive Chef with a vast knowledge of food as well as movies and beer. Join us for this week's degustation, won't you?

durée : 01:31:00 - Les Nuits de France Culture - par : Albane Penaranda - "L'Europe a des oreilles" ou quand l'Atelier de Création Radiophonique imaginait une soirée électorale originale pour les élections européennes de 2004. En direct du studio 105, ce multiplex avec sept radios européennes donnait à entendre Jean-Luc Godard, Lidia Jorge, Peter Greenaway, etc. Chaque pays a ses rituels politiques. Et parmi ces rituels, les soirées électorales à la télévision et à la radio. En France les choses sont codifiées précisément depuis des temps qui commencent à devenir anciens : le ballet des barons ou des seconds couteaux sur les plateaux des chaînes d'information. Les petites phrases et les affrontements rituels autour du projet des uns ou du bilan des autres.  A l'échelle de l'Europe ce type d'exercice n'est jamais évident, pour toute une série de raisons qui ne sont pas uniquement linguistiques. Il y a bien des partis européens et des fédérations de partis au Parlement européen depuis la première élection des Eurodéputés au suffrage universel direct en 1979. Mais le plus souvent dans ces élections, les résultats donnent lieu à des interprétations nationales et locales.  C'est peut-être pour dépasser cette limite que L'Atelier de Création Radiophonique a imaginé une soirée électorale d'un nouveau genre pour les élections européennes de 2004. Des élections particulières à plus d'un titre puisque l'UE venait de s'élargir vers l'Est et le Parlement européen s'apprêtait à accueillir plusieurs dizaines de députés issus des nouveaux pays membres.  Une soirée électorale organisée comme un multiplex européen, avec sept radios européennes,  dans un dispositif qui laisse la part belle à la création sonore avec des interventions de Peter Greenaway, Edouard Glissant, Jean-Luc Godard, Laurie Anderson, Lidia Jorge, Alex Foti, Jovan Divjak et Dominique Gonzalez-Foerster.L'Europe a des oreilles, une production de L'Atelier de Création Radiophonique, diffusée en direct le 13 juin 2004 depuis le studio 105 de la Maison de la Radio et de la Musique.  Par Frank Smith et Philippe Langlois  Réalisation : Lionel Quantin Atelier de Création Radiophonique - L'Europe a des oreilles (1ère diffusion : 13/06/2004) Indexation web : Documentation sonore de Radio France Archive Ina-Radio France

PATTON OSWALT JOINS US! Yes chef! Representing the arthouse, it's Peter Greenaway's 1989 Jacobean Thatcher-era ultra-repulsive ultra-beautiful satirical black comedy, The Cook, The Thief, His Wife, and Her Lover. And representing the mainstream, it's Pixar's 2007 smash hit Ratatouille, starring our guest Patton Oswalt! Which one will win and enter the canon? Which will lose and go in the trash canon and we can never watch it again for the rest of our lives??? Listen to find out!!! NEXT WEEK: Husbands vs The Hangover THE COMPLETE CANON & TRASH CANON ON LETTERBOXD: https://letterboxd.com/weekendbergman/lists FOLLOW WEEKEND AT BERGMAN'S https://twitter.com/weekendbergman https://www.instagram.com/weekendbergman https://www.tiktok.com/@weekendbergman BUY MERCH https://www.teepublic.com/user/weekend-at-bergmans WEEKEND AT BERGMAN'S IS A FOREVER DOG PODCAST https://foreverdogpodcasts.com/podcasts/weekend-at-bergmans Learn more about your ad choices. Visit megaphone.fm/adchoices

The maniacal voice of Mister Sinister - Chris Britton - appears on the show to talk about voicing the role in the 90's X-Men: The Animated Series, and cover the first appearance of The Nasty Boys in the issue X-Factor #75 by Peter David.Born and raised in Toronto, Chris Britton first studied acting as a teenager. He graduated from York University with an Honors BFA in theatre. His voice has been heard in hundreds of commercials, narrations and animation series including the voice of Mr. Sinister in 'X-Men The Animated Series' and Soichiro Yagami in English language dub of the anime series 'Death Note'. In film and television his talents as a character actor can be seen in roles such as the evil Rombout Kemp in Peter Greenaway's 'Nightwatching'', the KKK leader opposite Forest Whitaker in 'Deacons For Defense', the mad film critic in John Carpenter's 'Cigarette Burns' and in 'The Final Cut' opposite Robin Williams.Find us on the AIPT Podcast Network. Follow our show to be alerted when new episodes appear the first and third Wednesday of the month. Check us out on social media @xreadspodcast on Twitter, Instagram, and Facebook. For business inquiries, email xreadspodcast@gmail.com. Learn more at https://aiptcomics.com

Sam Barlow is the designer of the acclaimed independent games Her Story (2015), Telling Lies (2019), and Immortality (2022). Often cited as reviving interest in live-footage games, Barlow takes the cinematic underpinnings of his earlier titles to new extremes in Immortality, which tasks the player with assembling rushes, behind-the-scenes, and rehearsal footage from three incomplete films in order to piece together the fate of their enigmatic actress. To create each of these movies, Barlow enlisted writers Allan Scott (Don't Look Now, The Witches), Barry Gifford (Wild at Heart, Lost Highway) and Amelia Gray (Mr. Robot, Maniac).On the pod, Barlow and Screen Slate editor Jon Dieringer discuss the cinematic legacies of unfinished films, the influences of filmmakers like Peter Greenaway and Krzysztof Kieślowski, the complex writing and production processes of shooting—and dicing up—three period genre pieces, and how “auteurism” functions in the games industry.Hosted by Jon Dieringer. Audio post by C. Spencer Yeh.The Screen Slate Podcast is supported by its Patreon members. Sign up and get access to bonus episodes, our lockdown-era streaming series archives, discounts, event invitations, and more.Support the show

You aren't seeing double. Jim and Nick discuss a pair of films featuring twins, Peter Greenaway's A ZED & TWO NOUGHTS and David Cronenberg's DEAD RINGERS along with other pop culture twin references and Nick's real life fetish ... er, fascination with twins.

Prößl, Christophwww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

The Hammah Bouquet by Penhaligons (1872) +Peter Greenaway's The Draughtsman's Contract (1982) + A Zed & Two Noughts (1985) + The Baby of Macon (1993) with Zane 03/13/22 S04.143 To enjoy the remainder of this episode and gain access to the full TPN library please support us on Patreon.  

Episode number nine is in the books! In this episode, Andrew rants about the animalistic decision to put movie or video game discs into the wrong case. Followed by the ninth movie review, The Cook, the Thief, His Wife & Her Lover (1989) directed by Peter Greenaway starring Helen Mirren. instagram: @rantingandreviewing contact: rantingandreviewing@gmail.com music: https://www.podcast.co/music Thank you Denise Schuh for the cover artwork, checkout her instagram @denise.artwork