Podcasts about Phantom of the Paradise

This week we welcome comedian and fellow Mythical Crew member Leonard Smith Jr. to the pod to talk about one of the strangest finds in the Free With Ads-iverse, Hell Comes To Frogtown starring Roddy Piper and the world's last virile man. It is not porn, we swear.Tune in next week when our movie will be... Phantom Of The Paradise.-----Follow Leonard on Instagram!Also see him do comedy in a town near you:Oct 28 Las Vegas WiseguysNov 19 UCB New YorkNov 6-8 Austin, TX Out of Bounds Comedy FestivalSee Leonard's comedy troupe Lemon Pepper WetAlso, watch Good Mythical Weekend!Jordan has some comic books coming out!Oct 1st, Predator Black White And Blood no 4.Dec 3rd Venom Issue 252

In aflevering 60 worden de film-Podcast-handen in elkaar geslagen. Niemand minder dan “de Nico” van Zaal 9 Filmpodcast is immers bij ons te gast om er mee te palaveren over film, en laat dat nu net zijn wat wij allemaal graag doen…Maar er is zelfs méér! Nico was niet zo maar te gast, neen, hij mocht zelfs de films kiezen die in onze Watchlist zouden besproken worden. Hij koos voor films die een diepe invloed op hem hebben nagelaten in het verleden. Zijn selectie bestond uit een horrorfilm “NIGHT OF THE DEMON aka CURSE OF THE DEMON” (1957), een Brian De Palma musical zowaar “PHANTOM OF THE PARADISE” (1974) en tenslotte een Woody Allen film “MANHATTAN MURDER MYSTERY” (1993).Of deze films ook een indruk zouden nalaten op Poelie, Peer en Zwino, hoort u in aflevering 60 van de collab aflevering van de Movie Matters Zaal 9 (Nico dan toch) Podcast.Enjoy!!Jullie kunnen ons ook mailen naar moviematterspodcast@hotmail.com Volg ook onze socials: (1) Movie Matters Podcast Op facebook en op instagram: @_moviematterspodcast_ • Volg ons via Letterboxd: Zwino: ‎ThomasZwino's profile • Letterboxd Peer: ‎Lpereboom's profile • Letterboxd Tim:  ‎Tim Poelman's profile • en https://boxd.it/4Y95L En Join onze discord waar we samen gezellig over films kunnen praten: https://discord.gg/Krq6uXGWFm

Welcome to another episode of Death Don't Do Fiction, the AIPT Movies podcast! The podcast about the enduring legacy of our favorite movies! It's July, so that means it's time for our “Julygantic” series! Where we cover monster movies! In our season four finale, Alex, Tim, and returning guest Matt Naughton discuss Russell Mulcahy's visually-stunning 1984 Ozploitation creature feature, Razorback!Creepy music! A runaway TV! A limited-yet-effective animatronic boar! A furry locomotive! Outback Madness! A mid-movie acid trip! A solid, yet mostly unrecognizable cast! Two awful, but fashionable human beings! A shockingly fast grieving process! Unintelligible Australian accents! Checkov's turbine blade! A Rocky Horror Picture Show apron! A giant, fake red moon! One of the few great Jaws ripoffs, beautifully shot by Oscar-winning cinematographer Dean Semler! Dark and hopeless never looked so good!In addition, Matt Naughton talks about Will Forte's MacGruber, while Alex does the same for Superman, Tim Robinson's Friendship, and the Brian De Palma documentary, De Palma! As a special treat for the finale, our resident Superman expert, Tony Sedani, shares his spoiler-free thoughts on James Gunn's version of the man of steel!You can find Death Don't Do Fiction on Apple Podcasts, Spotify, or wherever you get your podcasts. As always, if you enjoy the podcast, be sure to leave us a positive rating, subscribe to the show, and tell your friends!The Death Don't Do Fiction podcast brings you the latest in movie news, reviews, and more! Hosted by supposed “industry vets,” Alex Harris and Tim Gardiner, the show gives you a peek behind the scenes from two filmmakers with oddly nonexistent filmographies. You can find Alex on Twitter, Bluesky, or Letterboxd @actionharris. This episode's guests, Matt Naughton, can be found on Instagram @mnaughty85, and Tony Sedani can be on Instagram @tsedani. Tim can't be found on social media because he doesn't exist. If you have any questions or suggestions for the Death Don't Do Fiction crew, they can be reached at aiptmoviespod@gmail.com, or you can find them on Twitter or Instagram @aiptmoviespod.Theme song is “We Got it Goin On” by Cobra Man.

Kyle, Joe, and Rick review the rock musical romantic comedy horror film, Phantom Of The Paradise. Directed and written by Brian De Palma and with music by Paul Williams. The film stars Paul Williams, William Finley, George Memmoli, Gerrit Graham, and Jessica Harper. We ranked the 10 songs from the soundtrack and picked our favorite lines, characters, performers, and scenes. Enjoy!

Send us a textWoHos!This week we looked at two buckwild films about phantoms: THE PHANTOM OF THE OPERA (1925) and PHANTOM OF THE PARADISE!We also discussed: The current heatwave, our ambivalence about Allison Williams, "Couple to Throuple", uncool names for villains, cursive as a lost art, ALW, checking for ghosts before you buy a property, complaining to management, and losing weight.Next time we are looking at "Big Ol' Monster" horror films with GODZILLA (1954) and CLOVERFIELD.Thank you for all your support! It means the World of Horror™ to us, truly!Remember, WoHos: We love you and DON'T go into the basement! Gerry Entriken: WoHo Outro ThemeSupport the showOpening Theme "Bucket" by Gerry EntrikenClosing Theme "Mop" by Gerry Entriken Interstitial Musicalso by Gerry Entriken. We love you, Gerry!Subscribe to the Podcast for a Special shout-out!World of Horror's InstagramMom's InstagramMac's InstagramDonate to Translifeline

In this episode, I chat with Angelica Cresci — occultist, content creator, writer, and astrologer — about Phantom of the Paradise (1974) and its portrayal of the mental anguish of artists, and selling your soul to get noticed as a creative. Mental Health is Horrifying is hosted by Candis Green, Registered Psychotherapist and owner of Many Moons Therapy...............................................................Show Notes:About Angelica CresciAngelica Cresci is an occultist, content creator, writer, and astrologer based in Salem, MA. Angelica has been a Hades devotee for nearly a decade and specializes in glamour, Hellenistic mythic astrology, and chthonic magick. She has a BA in Creative Writing from Salem State University and is the host of Diaries of a Witch Podcast. When she's not staring at the stars, making content, or teaching, she spends her time writing. Website: https://www.angelicacresci.com/ Instagram: https://www.instagram.com/angelicascresci Diaries of a Witch Podcast on YouTube: https://www.youtube.com/@AngelicaCresci/podcasts Patreon: https://www.patreon.com/c/angelicacresci/ Want to work together? I offer 1:1 psychotherapy (virtually across Ontario, and in-person in Toronto), along with tarot, horror, and dreamwork services, but individually and through my group program, the Final Girls Club. Visit my website to learn more.Podcast artwork by Chloe Hurst at Contempo Mint

On the latest bonus episode of THE THIRD ACT PODCAST, the crew are snorting lines of cinema.Christian and Jericho continue their Auteurography series on the films of Brian De Palma with reviews of 1974's rock/horror/musical parody PHANTOM OF THE PARADISE and 1976's Alfred Hitchcock-coded neo-noir psychological thriller, OBSESSION.They also discuss art vs commerce, camp/kitsch, Hitchcock homage, the American male loneliness epidemic, and how movies are dreams.Subscribe to Jericho's Substack: symbioticreviews.substack.comKeep in touch with us on Instagram and email us anytime at: TheThirdActPodcast@gmail.com   

Welcome to week 1* of our new theme “No. No. No. For the last time, you can't sing Prince on the show!” - Horror musicals! Courtesy of Cody we'll be doing our darnedest to not burst out into any legally actionable songs during the recordings of these episodes. It isn't fair, but we love him all the same. We talk about a handful of current releases, some old favorites, and then we get to “Life at Last” as we discuss the Brian de Palma cult classic, PHANTOM OF THE PARADISE!   *We technically broke protocol and release schedule to bring you our SINNERS discussion, which we deemed as mostly eligible for this theme! Go check that out!   Go to patreon.com/SHUDcast where you can sign up for all kinds of extra goodies!   00:00 - 9:30ish - Intros - We broke a glass, Minecraft theater madness   9:30ish - 34:00ish - The other stuff we watched this time:   Curtis - Wheel of Time, Yellowjackets, Xena: Warrior Princess, Sexy Beast, Drive   Austin - White Lotus, A Goofy Movie,    Cody - Drop, Gladiator II   Lucas - Not Just a Goof, Iron Man Three   34:00ish - 1:12:00ish - PHANTOM OF THE PARADISE - SHUDdown and discussion   1:12:00ish - End - The next movie in our series “No. No. No. For the last time, you can't sing Prince on the show.”

This week's episode was recorded in front of a live audience on Feb. 7th, 2025, at Cinema 21 in Portland, Oregon. Beloved composer, musician, and iconic actor PAUL WILLIAMS joined us to discuss the film we screened that night, PHANTOM OF THE PARADISE, as well as his impressive and long career in film and music. Paul talks about his experiences working with director Brian De Palma, juggling acting and composing songs for fellow actors William Finley, Gerrit Graham, and Jessica Harper, his stylistic influences for writing the soundtrack, the joy in playing a bastard like Swan and even how Phantom eventually found an audience with the help of some dedicated Winnipeggers. He also shares fascinating stories about his prolific work output, including composing for Jim Henson, how Burt Reynolds got the idea to put him in Smokey & The Bandit, writing songs for the Carpenters, Barbara Streisand & Ishtar, meeting songwriting deadlines while touring with Liza Minelli, how it felt when Phantom superfans Daft Punk reached out to him to collaborate on their music, and so much more.And as if that wasn't enough, there's also a live performance from Paul's latest collaborators, PORTUGAL. THE MAN, which includes a lovely Phantom Of The Paradise tip of the hat.Thanks again to all who donated their time and energy to make this beautiful event happen! Enjoy!PAUL WILLIAMS:https://www.paulwilliamsofficial.com/PORTUGAL. THE MAN:https://portugaltheman.com/FRANCES CHANGED MY LIFE:https://www.franceschangedmylife.com/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com  Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

New episodes drop every Tuesday, subscribe so you don't miss out. Rate us 5 stars while you're at it! Next week, we uncover the mysteries behind The Empty Man. Enter The Phantom Zone to access all sorts of bonus goodies like our monthly side show "Watching the Watchlist", movie commentaries, and polls to help shape the podcast: https://patreon.com/spectercinemaHaunt Garrett on social media:TikTokTwitterBlueskyInstagramLetterboxdYouTubeHaunt DeVaughn on social media:BlueskyTwitterTikTokInstagramLetterboxdYouTubeSpecter Cinema Club Original Theme by Andrey Kinnard

Not So Trash Reviews is back from the dead!After a long hiatus, Johann Chipol returns with a resurrected lost episode, originally recorded almost three years ago! And what better film to make our comeback with than Brian De Palma's genre-bending rock opera cult classic, Phantom of the Paradise?Johann is joined by friend of the show and horror filmmaker Liam Banks of Superfreak Media as they explore the film's glam excess, high camp energy, and enduring legacy. From masked composers and soul-selling producers to the unforgettable brilliance of Beef, this episode dives into what makes Phantom of the Paradise a prime example of high camp cinema.We'll unpack the meaning of “camp” itself and explore how De Palma's film mirrors larger ideas about fame, style, and the price of artistic ambition.-Catch Phantom of the Paradise on the big screen! It's screening as part of the Cult Film Club and Paracinema Film Festival on May 3rd at QUAD in Derby—don't miss your chance to witness the madness live! Book your tickets here - https://www.derbyquad.co.uk/events/phantomoftheparadise/ Music Credits:Original Music by Karl Casey @ ⁠White Bat Audio⁠ – 'Hackers' and 'Arcadia'Music from Phantom of the Paradise composed by Paul Williams“Kashmir” by Led Zeppelin used briefly under fair use for commentary purposesWant to support Enigmatic? Click here to donate - ⁠⁠https://www.buymeacoffee.com/harveyretro⁠⁠For more information on future projects and episodes, checkout our... Facebook page (⁠⁠https://www.facebook.com/studioenigmatic⁠⁠)Instagram (⁠⁠https://www.instagram.com/enigmaticretrorewind⁠⁠)YouTube (⁠⁠https://www.youtube.com/productionsenigmatic⁠⁠)TikTok (⁠⁠https://www.tiktok.com/@harvey_retro⁠⁠)

On this week's episode, we are joined by the legend Kevin McDonald of The Kids In The Hall, who talks about his upcoming rock opera, Superstar (A Rock Opera), and the films and music that influenced it.  We also discuss Kevin's love of musicals, why comedians want to be musicians and vice versa, Kevin discovering Jesus Christ Superstar and the effect it had on him, the musicality of Kevin's voice in his comedy, writing the Kids In The Hall sketches ‘The Suburbs', ‘Daddy Drank, and ‘The Bass Player,' why rock operas are always so dire and full of trauma, how hard it is to write an ending for a sketch, Monty Python, Phantom Of The Paradise, Hedwig & The Angry Inch, why Kevin chooses to turn truly painful moments in his life into his comedy, Chris' Colonel Jeffrey Pumpernickel concept LP with Stephen Malkmus & Ann Magnuson, how Kevin wrote his rock opera lyrics and melodies, the magic of Dave Hill, upsetting Flo and Eddie references in Kevin's rock opera, Paul Williams, The Mountain Goats, why "rock music" in a rock opera often rings false, who should direct the film the version of Kevin's rock opera and more!So, let's do our vocal exercises before hitting the stage on this week's episode of Revolutions Per Movie!KEVIN McDONALD:See Superstar (A Rock Opera) Live At Soho Playhouse March 19-23, 2025Tickets: www.sohoplayhouse.com/upcoming-events/kevin-mcdonald-superstarREVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.The show is also a completely independent affair, so the best way to support it is through our Patreon at patreon.com/revolutionspermovie. By joining, you can get weekly bonus episodes, physical goods such as Flexidiscs, and other exclusive goods.Revolutions Per Movies releases new episodes every Thursday on any podcast app, and additional, exclusive bonus episodes every Sunday on our Patreon. If you like the show, please consider subscribing, rating, and reviewing it on your favorite podcast app. Thanks!SOCIALS:@revolutionspermovieBlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.com ARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

Finally, Jamie gets to wax lyrical about movies while Sam talks about picking corn kernels out of his excretions. Do your bit: Sign up to our Patreon for (almost) unedited and raw video versions of every new episode Rate and review us wherever you're listening  Email us with your thoughts, questions, and FT slash fiction Follow us on Instagram, Bluesky and TikTok Check out Red Scare Industries

Alright! You wanted the best, you got the best. The greatest rock n roll horror movies ever in a neat and organised list. It's Horror Rocks. I watched, rated and ordered 74 movies from 1971 to 2024 in order to attempt to figure out just what exactly could be the greatest of them all. Joining me on my journey are several guests, drinking several Jack and Cokes over a glorious 4 episodes full of ripping riffs, pummelling drums and voices so stretched they are at breaking point. This is Horror Rocks. It's a pretty long journey this one, part 3 of 4 in fact. I am going to give you the time codes below so if you don't want spoilers then, please, avert your eyes.You can now support A Year in Horror via the Patreon.Theme Music by Max Newton& Lucy Foster.Email the podcast at ayearinhorror@gmail.comDon't bother following the podcast on Facebook. But feel free to...Follow me on Twitter.Follow me on Instagram.Follow me on Letterboxd.Below are the timecodes for all the different segments and my guest links. Feel free to let me know where you think I got it wrong or right and of course stay safe out there & I'll see you next month.0.31 - Also Rans (Part 4)09.47 - Hellbender (w/ The Adams Family)43.32 - The Driller Killer48.57 - Also Rans (Part 5)53.36 - Faust: Love of the Damned (w/ Ian Martineau)

Thank you for listening!   Time Stamps: Intro: 0:00 - 9:25 Catch Up: 9:26 - 38:05 Movie Review: 38:06 - 1:32:00 Rankings: 1:32:01 - 1:36:20 Next Pick: 1:36:21 - 1:42:30

Nathan and Ryan turn up the volume to discuss Brian De Palma's cult classic Phantom of the Paradise! A wild mix of gothic horror, glam rock, and sharp satire, this rock opera follows the tragic tale of Winslow Leach, a talented songwriter who makes a Faustian deal with the sinister music mogul Swan. The hosts delve into the film's dazzling visuals, unforgettable music by Paul Williams, and its scathing critique of the entertainment industry. Join the conversation as they break down this bizarre and electrifying masterpiece that's equal parts weird, campy, and genius.

It's our first ever musical episode! PsydeShow is taking this quaalude-addled ship into new waters and he brought his friend (and tattoo artist) Victoria along for the ride. We're covering Brian De Palma's 1974 cult classic, Phantom of The Paradise! TW: cartoonish violence, coercion, SA (not graphic), an accident involving heavy machinery, a soundtrack consisting of bangersFollow Victoria on IG: @_tattoos_by_victoria_Be sure to sub to our YouTube channel for video episodes!https://youtube.com/@thedevilsworkpodcast?si=qi943o2VJRA5KxkzWatch PsydeShow on Twitch: twitch.tv/psydeshowJoin the discussion on Facebook (The Devil's Work Podcast) and Instagram @thedevilsworkpod Email us your own reviews about the films or your thoughts on episodes at: thedevilsworkpodcast@gmail.com

Send us a textDan, Brent, Amanda, and Angel talk about horror musicals, and get really silly at times.

Aine and Alex get their heads stuck in a record press with special guest, Rachel Baldwin, as they discuss Brian De Palma's box office flop Phantom of the Paradise. With Beef on the brain, the girls cover everything from the films connections to Carrie to Rachel's insane Halloween franchise ranking. So don't sing Winslow's cantata and give us that crowd again for the fifty-seventh episode of The Girls Who Cried B-Horror! You can find Rachel's music on all major streaming platforms, the 31 songs she released in October and her merch on rachelbaldwin.bandcamp.com, and her music videos and live performances @rachelkbaldwin on YouTube. You can also follow her @rachelkbaldwin on Instagram.

Will and Matt's mission, if they choose to accept it, is to discuss the twists and turns of what started a long lived Tom Cruise franchise that also starred that dude who took a prop monkey from the set of Anaconda. DISCLAIMER: Language and Spoilers!!MISSION: IMPOSSIBLEdir. Brian De Palmastarring: Tom Cruise; Jon Voight; Emmanuelle Beart

Legendary music producer, the mysterious Swan (Paul Williams) is searching high and low for the perfect sound to open up his ultimate Rock Palace. While holding auditions he hears it, Winslow Leach (William Finley) presents his epic cantata, Faust. With the help of his right hand man, Philbin (George Memmoli) Swan plots to steal the music away and give it to his own find The Juicy Fruits (Archie Hahn, Jeffrey Comanor, Harold Oblong) and sets Winslow up to be sent away to Sing Sing. Succeeding in sending Winslow away, Swan attempts to open The Paradise with stolen music, upon hearing this Winslow escapes on a rampage that ends with his head in a record press, disfiguring him. Believing he's dead, Swan again attempts a reopening this time with the Juicy Fruits as the Beach Bums who Winslow, now the Phantom, attacks again. In the following auditions, the Phantom insists upon Phoenix (Jessica Harper) is the only one who could be his voice and sells his soul to have his music heard, but Swan cannot tolerate perfection in anyone but himself so again he he searches for another to sing Faust when he finds...Beef (Graham Greene) who dies onstage performing a dead man's music at the hands of the Phantom. Since someone burned for her to sing, Phoenix takes the stage and takes her place beside Swan as his bride set for assassination on stage the following night. The days are long and the nights are frightening, nothing matters anyway and thats the hell of it - Phantom of the Paradise, this week on Doom Generation. --- Support this podcast: https://podcasters.spotify.com/pod/show/doomgeneration/support

Pictures Powwow is the show in which we discuss a film that has been recommended whether it by us or you the listening people! In this episode, we covered "Phantom of the Paradise" (1974) which came highly recommended from Ryan.  Stefan and Amanda's recommendation for next episode is “The Menu” (2022), so make sure to check that out. If you have any feedback, questions, comments, recommendations or interested in having your podcast promoted on the show make sure to email us at spitandpolished@gmail.com  FOLLOW US: Twitter: @SpitPolishPre Facebook: https://www.facebook.com/spitandpolishpresents/ LISTEN ON: Apple Podcasts: https://itunes.apple.com/au/podcast/spit-polish-presents/id1059224536 Spotify:https://open.spotify.com/show/5ycjMXxAbhlcSEEpihSax0 Podbean: http://spitandpolish.podbean.com/ RadioPublic: https://radiopublic.com/spit-polish-presents-6VQzVW TuneIn: https://tunein.com/podcasts/Comedy-Podcasts/Spit--Polish-Presents-p1087434/ iHeartRadio: https://www.iheart.com/podcast/269-spit-polish-presen-29693268/ Stitcher: https://www.stitcher.com/podcast/spit-polish-presents

Ed Pressman was one of Hollywood's most impressive producers — a man who worked on films from American Psycho to The Crow to Wall Street to cult classics like The Phantom of the Paradise and Bad Lieutenant. His son Sam Pressman took over Pressman Films when his father died last year at 79. Sam Pressman has bold ideas about how to keep making daring films, and one of those ideas is turning to a favorite practice of scrappy DIY filmmakers, crowdfunding. But why is a business known for making classics the old-fashioned way turning to online investors? Sam Pressman explains his new approach — and tells us some great stories.You can get details about the Pressman Film at Republic.com/Pressman.And of course, please check out Actual Facts, on this very feed.And visit us all the time at MovieMaker.com.

In 1974, a new phenomenon was happening in Winnipeg: Phantom-Mania. Released on Boxing Day, 1974, Phantom of the Paradise became an instant hit in Winnipeg. And only in Winnipeg. In this episode, Sabrina unpacks the initial lengthy run of Phantom of the Paradise in Winnipeg and it's enduring legacy here and beyond. A warm thank you to those who shared their experiences with the movie! It is beyond appreciated.

Kicking off our MASKED UP triple feature, we're seeking bloody revenge on creative exploitation and musical sanitation as we look to the neon theater rafters to meet the tragic antihero in Brian De Palma's PHANTOM OF THE PARADISE, starring William Finley, Paul Williams, Jessica Harper, Gerrit Graham, and George Memmoli. Make sure to subscribe on Apple Podcasts, Spotify, or anywhere you get your podcasts.Want to support the show and save 20% on Fangoria? Visit shop.fangoria.com/howimetyourmonster and enter PROMO CODE: HOWIMETYOURMONSTER at checkout!Looking for How I Met Your Monster merch? Check out TeePublic https://bit.ly/howimetyourmonstermerchQuestions and comments: howimetyourmonsterpodcast@gmail.com

In this episode, we're conjuring up a symphony of scares by diving into both SUSPIRIA and PHANTOM OF THE PARADISE! Witches plot from the shadows, while a disfigured phantom sings for vengeance - both craving power, and both leaving a trail of bodies behind! Join us as we explore the striking visuals, the pulse-pounding music, and the terrifying tales behind these cinematic masterpieces!

In this episode, Charles (@charlesrockhill), Reed (@reedblackcomics) & Christopher (@chrisopotamia) discuss Phantom Of The Paradise (1974), gremlin holes, Jesus Christ Superstar and Marine Land.   Follow us: Socials & Email dirtylittlehorrorpodcast@gmail.com Please leave a rating/review if you have a moment. It's a free way to help the show grow! Dirty Little Horror is an LGBT Horror podcast where we try to find the gay subtext and make spooky dick jokes!   Opening instrumental: Karl Casey @ White Bat Audio  

Mr. Monopoly picked a Brian De Palma film for rock musical month... not to be confused with the first time he was on the podcast, and picked the Brian De Palma film 734: Bonfire of the Vanities. Next up in rock musical month is Streets of Fire (1984).

This week on the Talk Without Rhythm Podcast I'm filling in some gaps in my viewing of Brian De Palma's filmography with 1979's Phantom of the Paradise and 1993's Carlito's Way. [00:00] INTRO [02:16] Chin Stroker VS Punter Promo [03:23] RANDOM CONVERSATION [11:28] Phantom of the Paradise (1979) [48:48] Carlito's Way (1993) [01:17:05] FEEDBACK [01:22:59] ENDING MUSIC: Faust by Paul Williams Buy Phantom of the Paradise (1974) Buy Carlito's Way (1993) Support TWoRP Contact Us talkwithoutrhythm@gmail.com

This week, we talked to Grammy Nominated Visual Artist & Musician Perry Shall & Fangoria Magazine's Editor In Chief Phil Nobile Jr about arguably their favorite film of all time, Phantom Of The Paradise!!! We discuss the film's incredible songs and performance by Paul Williams, Brian DePalma's homages and obsessions within the film, the ties (and lawsuit) associated with this film and Led Zeppelin, the 70s obsession with the 50s, our love for the character BEEF, our childhood discovery of this film, the iconic visual identity of the film, which came first Kiss or the movie, one fan's obsession with restoring the film to its original state, bootlegging cable, the power of the indie video horror movie shelf, Jessica Harper's iconic performance, the mask design of the Phantom and the Japanese Manga movement around it, slumber party watch parties, being scared of rock concerts and their potential violence, style vs substance, who is the mysterious billed ‘rock freak' & how one lone city in the world has never stopped loving this film.So let's discuss the man who made it, the girl who sang it and the monster who stole it on this week's episode of Revolutions Per Movie!!!Perry Shall: https://www.perryshall.com/Phil Nobile Jr: https://www.fangoria.com/authors/phil-nobile-jr/REVOLUTIONS PER MOVIE:Host Chris Slusarenko (Eyelids, Guided By Voices, owner of Clinton Street Video rental store) is joined by actors, musicians, comedians, writers & directors who each week pick out their favorite music documentary, musical, music-themed fiction film or music videos to discuss. Fun, weird, and insightful, Revolutions Per Movie is your deep dive into our life-long obsessions where music and film collide.New episodes of Revolutions Per Movies are released every Thursday, and if you like the show, please subscribe, rate, and review it on your favorite podcast app.The show is also a completely independent affair, so the best way to support the show is through our Patreon at patreon.com/revolutionspermovie, where you can get weekly bonus episodes and exclusive goods sent to you just for joining.SOCIALS:@revolutionspermovieX, BlueSky: @revpermovieTHEME by Eyelids 'My Caved In Mind'www.musicofeyelids.bandcamp.comARTWORK by Jeff T. Owenshttps://linktr.ee/mymetalhand Click here to get EXCLUSIVE BONUS WEEKLY Revolutions Per Movie content on our Patreon Hosted on Acast. See acast.com/privacy for more information.

This week on the blog, a podcast interview with Ari Kahan, who assembled and oversees the most complete compendium of on-line information on Brian DePalma's classic rock music horror classic, Phantom of the Paradise. LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/The Swan Archives: https://www.swanarchives.org/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastINTERVIEW TRANSCRIPTDo you remember when you first saw it? What were the circumstances? How old are you? What was your reaction? ARI KAHAN: Sure. I first saw it when I was 12. It was double billed with Young Frankenstein. This would have been in early 1975, and my mom took me to see Young Frankenstein, which was okay. It was pretty good, but I was really enamored with the second feature on the bill, which was Phantom. And I've been in love with it ever since.Did you know anything about it before you went in? ARI KAHAN: Nothing. Nothing at all. So, what has been the attraction for you for that film, low those many, many years ago?ARI KAHAN: It may have just hit me at an impressionable time. But I think that, you know, being 12 and being kind of a nerd, I probably identified with Winslow and his fervent belief that if the world could only hear from his heart, and especially if all the girls in school could only hear from his heart, then they would love him and not the jerk that they always went out with.So, there's probably some of that. There was certainly, I do remember very, very clearly that the direction in some respect stood out to me. I had seen a lot of movies when I was 12, and I remember even today, thinking when I was 12, that there was a moment where the Phantom is rising up into the rafters in the foreground as Beef is descending in the background. And I looked at that and I thought, boy, that's complex. Anybody else would have done a shot of the Phantom starting to climb a rope, and then cut away, and then come back to him up in the rafters. This guy is trying to do things that are more interesting than he needs to and I thought that was really fun.After seeing Phantom I went back and saw Sisters.Which was no mean feat back then. ARI KAHAN: Yeah, I know and in fact, I had to see Sisters by buying a 16-millimeter print of it. That was the only way I could. I had fixed up a couple of—this is probably a year or two later—I had fixed up a couple of 16-millimeter projectors that my school was discarding, so I could even do changeovers in my bedroom. And I got a copy of Sisters just so I could see it because it was unseeable otherwise. Well, kudos to you for finding Sisters, because it took me a long time. I imagine it showed up at the Film society at the university or something finally. So getting to see William Findlay in a markedly different role and also seeing, oh, okay, this is a director who likes split screen. Although I probably would have gotten that from Carrie, because I'm sure I saw Carrie first. He's accused of doing stuff like that just for showing off. In fact, I think it's always for a cinematic or emotional reason. And Sisters is the best example of that. The suspense of getting rid of that dead body before they get to the door is enhanced by the fact that you're watching two things happen at the same time. ARI KAHAN: Yeah, I think in Sisters and Phantom both, it works really well. And I think, and I think even DePalma would agree that it didn't work as well in Carrie. Because the split screen calls for intellectualizing on the part of the audience. And it takes you out emotionally and wasn't really working that well. I understand why he did it, because it'd be boring to like, cut to Carrie's face, cut the things happening, cut back to Carrie's face, blah, blah, blah, blah. But I think both he and Paul Hirsch, the editor, feel it would have been better off to do something else.But anyway, after Phantom, you know, every new De Palma film to come out—all the way through Domino—has been a much anticipated event for me, you know, and I'm in the theater on the first day. And there have been a couple of disappointments along the way, but by and large, it's been awesome. Since you've seen Phantom so many times, were there any surprises that popped up over the years as you've watched again and again and things that you hadn't seen or hadn't realized?ARI KAHAN: It took me a really long time to notice that there was a frame or two of Jessica Harper being one of the backup singers on stage when Beef's performing life at last and only because I think it was unavoidable to use those frames. I think somebody figured out in editing that it didn't make any sense for her to be one of those backup singers and then in a white dress. So that took a while. It also was only within the past couple of years that I realized that a lot of the sort of classical, but silent movie sounding music that I had always thought was composed by the guy who did the incidental music was actually Beethoven. Oh, really?ARI KAHAN: Because Beethoven's not credited. So that little like a little violin thing that happens …ARI KAHAN: Or when Swan is going into phoenix's dressing room. When Winslow is escaping from prison. Well, it's Beethoven piano trios for the most part. So, you don't need to get permission from the Beethoven estate on that…ARI KAHAN: Well, I think that they would have had to pay the orchestra involved and I can easily imagine them omitting credit to avoid doing that. Hoping nobody would notice. And nobody did, obviously.Until you've just brought it up. ARI KAHAN: Yeah, sorry. That's okay. It's not, it's not our problem. One of the things that, that I found the Swan Archives to be so helpful on—well, lots of things, uh, when I discovered it years ago and I've returned to it as new things have popped up or I've dug a little deeper—was your explanation of the Swan Song debacle. As a frequent viewer of the movie. I wasn't noticing truncated shots. That I didn't notice until you showed us those shots. But obviously the mattes, particularly at the press conference, are really, really terrible. If I'm noticing them, they're bad. Can you just give us a brief history of why they had to do that? ARI KAHAN: Sure. So, it goes to Beef electrocution. In the early seventies, there was a band called Stone the Crows, whose guitarist was a guy named Les Harvey and Peter Grant, who would later manage Led Zeppelin, managed Stone The Crows. And Les Harvey was—in a freak accident—electrocuted on stage. I think his guitar was badly grounded or something along those lines, in 1971 or 72.And when Peter Grant learned that there was a film coming out in which a rock guitarist is electrocuted on stage, he assumed, that it was making fun of what had happened to his friend, Les Harvey. And by that time he was managing Led Zeppelin. I should say in De Palma's defense that Beef's electrocution shows up in early drafts of the script that were written before Les Harvey suffered his accident. So, this was life imitating art, imitating life, you know, rather than the other way around. De Palma clearly did not take that plot and probably didn't even know about what had happened to Les Harvey. But anyway, by the time Peter Grant got wind of this, Phantom had already been shot, but not yet released. This was in the summer of 1974. And by sheer absolute sheer coincidence, Peter Grant and Led Zeppelin had just gotten a trademark on Swan Song for their record label. And the first record to come out on the Swan Song label was Bad Company's first record, and that was in somewhere around June of 1974. So that's when their trademark was perfected, and Phantom was scheduled to be released a few months later at the end of October.And Peter Grant went to 20th Century Fox, which had just purchased Phantom from Ed Pressman and DePalma. You know, it's important for the story to know that Phantom was independently produced. It wasn't financed by Fox. Pressman and DePalma raised money to make this movie in the hopes that they would then sell it to some distributor for more than they had paid to make it.And it turned out that there was a, quite a bidding war among several studios, which Fox won. And Fox paid more for Phantom than anyone had ever paid for an independent film to that point in history. They had very high expectations for it. So that sale had just closed, but Pressman and De Palma and everyone else hadn't been paid yet by Fox.And of course, they had run out of money and owed everybody money, everyone who had worked on the film. So, they were in kind of a desperate situation. And Peter Grant went to Fox and said, “I'll sue you and prevent release of this film.” And the only thing that Fox could do was to tell Pressman and De Palma, you need to fix this.And the only way they could fix it was by removing all of the references to Swan Song, so that Peter Grant wouldn't have grounds for his claim, because he obviously can't claim you can't have a film with an electrocution of a rock star. Really, all he had was the Swan Song thing. And so that was done very, very hastily. They were still working on it in early October, even though the film was scheduled for release at the end of October. And so, basically, Fox signed a deal with Led Zeppelin saying we won't release the film with any of this Swan Song prominently shown. Which is a very stupid resolution really because Peter Grant in the end did not prevent distribution of a film with an electrocution of a rock star, which was his original concern.All he really managed to do was mangle somebody else's. And so the end result is that the film that we've all been watching for the last 50 years, there's a little bit cut out of it. There's some lovely crane shots that you missed because what the DePalma had done through the film was start on this Swan Song logo or the Swan name and then move away from it to whatever was going on. So that you have the impression that Swan was everywhere. And so that whole thing was lost and, you know, as you and everybody else noticed, some of it's very noticeable, particularly the bird at the airport. Which is too bad.I understand that you have a secret print of the film in which all those logos had been restored. In addition to fixing the crane shots and having shots that no longer have the terrible matte on them, is there anything else in that version that we wouldn't have seen before? ARI KAHAN: It's not a secret print, really. It was just reconstructing the film the way that it was intended to be, using footage that had been assumed to have been destroyed decades ago, but which I eventually found and digitized. And then with the help of a couple of other folks, put the movie back together. The most challenging part: there's a couple of challenging parts to that.You know, it's not just a matter of sticking things in. The footage was without sound. And so, if you're making a scene a few seconds longer, for example, and there's music underlying that scene, what are you going to do? Are you going to start the music a little bit later? Are you going to end it a little bit earlier?Are you going to play it a little bit slower so that it fills up these extra seconds? Are you going to loop it? Are you going to find some other piece of music that was probably intended to go there in the first place? So there's that problem. And then the podium scene, which is the worst offender—at the airport—the original, they actually worked on the negative to put the dead bird on. And so, the original footage for that podium didn't exist. But we knew what the podium was supposed to look like, because there's a photo that was used for the German promotional campaign—created obviously months before the film is released—and that still shows the podium the way that it's supposed to look. So, I got my friend, Steve Rosenbaum, who is a special effects supervisor. He won Oscars for Forrest Gump and Avatar, I think. And he's about to win an Emmy—I will bet you a box of donuts—he's about to win an Emmy for his work on Masters of the Air. I gave him this image and the footage that's shown, you know, in the theater normally, and he reconstructed the podium for me. So that's how we did the podium. But the other thing that was that if you go see the film now in the theater projected from DCP, the DCP master—which is the same master that we've used for the current blu rays—it was done by a company called Reliance Media Works in Burbank. And, I don't know what 17 year olds they had working on it, but they did the coloring and grading the way it's fashionable to do when they did it, you know, 10 years ago, which was a lot of orange, teal and the blacks are crushed so that anything that's really dark gray or dark brown, just black, so that the colors pop more, but you lose a lot of the detail, and to my eye it looks terrible.And so, I used an earlier master of the film that looks more like it looked in the 70s as the base for the reconstruction. And then color matched the replacement footage to that. It sounds beautiful. ARI KAHAN: It's gorgeous. The only other thing that I suppose we could have done, but didn't, is there's originally footage of Winslow's face coming out of the record press looking all mangled. And I have that footage, but I didn't put it back in because that footage that DePalma deemed not appropriate to the tone of the film that he was making. And so, since the object of this game was to restore the film to the way that he would have wanted it, I let that out. I think that was a wise choice. You know, I talked to Pete Gelderblom, who did the Raising Cainreconstruction. And it's a beautiful piece of work that he did. He was more constrained than you, because he was only allowed to use the footage which was there, and he just had to rearrange it. He repeats one shot, but he got it as close to the original shooting script as he could. I don't think Paul Hirsch was particularly thrilled with it, but De Palma was and has referred it as his director's cut. Did De Palma see your version and did he like it? ARI KAHAN: Yeah. I did a cast and crew sort of screening in Los Angeles and Paul Williams came to that and Archie Hahn and so on. Ed Pressman, the producer. And there was tremendous enthusiasm, because none of them had ever seen the film that they made the way that it was supposed to be.And I sent a copy to Paul Hirsch and I'm not sure whether DePalma heard about it from Pressman or from Paul Hirsch, but he asked to see it. And I sent it to him and I got a nice note from him saying, you know, that it was great, good job, la la la, it's great to see the film the way that it was, you know, the original cut.So. Yes, he is. Definitely. He's seen it. He's happy with it. And Ed Pressman, in particular, wanted to have that version released on home video or in some other way. And we went to Fox. This is before Disney. It was still Fox. And Fox said, well, you know, we could consider doing that under two conditions. First, Mr.DePalma approves. Well, yes, check box checked there. He does. And second, we made this deal with Led Zeppelin back in 1974, where we agreed not to do this. And if you can get them to waive their rights under that agreement, then yeah, sure. So, I worked with Ed Pressman and we put together a bunch of testimonials from people that we thought Led Zeppelin might respect, like Brett Easton Ellis and I think Guillermo del Toro and others, and sent a package off to Led Zeppelin through their lawyers. And God bless them, they got back to us in less than a week and said no. At least they didn't leave you hanging. ARI KAHAN: At least they didn't leave us hanging. That's right. So, your archive is amazing and is hour's worth of fun to go through it. ARI KAHAN: It's a rabbit warren. Yeah, I wish it were a little better organized.How did it get started? Well first, when did you start collecting memorabilia and then how did that grow into the archive? ARI KAHAN: I started collecting memorabilia right after I saw the film when I was 12. And that was obviously pre internet and pre-eBay. And it was a lot harder to get stuff. Bt I would frequent science fiction conventions and horror conventions and comic book shops.And there were a whole bunch of people who knew me as that kid who's always looking for Phantomstuff. And I was the kind of nerd who kept a log with the what everybody else was also looking for. And so, if I were at some convention and the guy who was collecting Olivia Newton, John's stuff, if I saw something interesting—not that there is anything interesting about it, but anyway—if I saw something interesting about Olivia Newton, John, I would run to the pay phone and call him and say, Hey, you want this? And I would pick it up for him. And so, there was a lot of returning of favorites where there would be people who were going to cons that I wasn't going to. And if they saw Phantom stuff, they would pick it up for me and that kind of thing. And so, you know, that became the way to get the posters from every country in the world that it was released in and the lobby cards and everything else and it started filling up, taking up more and more space over time and grew into, you know, trailers and magazines and everything else.And then when the site came out in around 2006, I put up the first version of the site. People who either had worked on the film or had something interesting would get in touch with me and say, “You know, I have this. I see you have a good home for it. Do you want it?” And of course, you know, eBay was a way to fill in some gap.Is there, within what your current collection holds, is there a prized possession that, you know, if there was a fire and you only grabbed one of those pieces, what would you take with you? ARI KAHAN: Yeah, absolutely. You know, in every dorm room and every apartment and every house I've ever lived in has hung John Alvin's art from the one sheet, and it's the same art that's on the cover of the soundtrack album. I just thought that was beautiful piece of art. And I think it was his second movie poster he painted. The first one would be for Blazing Saddles. And then he did Young Frankenstein, and if you look at the Young Frankenstein poster and the Phantom poster, you can see that there's a lot of stylistic similarities there.But he went on to do, you know, E. T. and, you know, 130 odd other posters. And at some point, he and I started corresponding and he finally said, “You know, I have something that I think you should have. Give me your mailing address.” And a few days later what showed up was his original painting, the comp painting for that poster, which he had had all this time. And so that would be the prize possession for sure. Well, that qualifies, I think. Is there a Holy Grail out there that you're still looking for? ARI KAHAN: The original art for the Corbin poster. Which is the “he's been maimed and framed, beaten, robbed, and mutilated.” That artwork would be a Holy Grail. As well as, well, the Phantom's original helmet. Now, it turns out there's a couple of them, at least. And one of them Guillermo del Toro now has. He just bought the Phantom's costume after it failed to sell at auction at Bonham's. And the other helmet the Pressmanfamily has, so those would be a grail. There's a lot of things that I'm sure no longer exist that would be the grail, like, you know, the Phantom's contract.Any number of props would be fun, but there's not very many known to still exist. I think Peter Elbling still has—or I think his son has it right now—the microphone that he used with a knife on it. And Garrett Graham still has his guitar strap, Beef's guitar strap. And I think he may still have the plunger.But not the antler belt? ARI KAHAN: No, not as far as I know. That'd be tough to ship. It would be. Yes. Dangerous to keep around the house. You could bump into it. On the site you kindly show all kinds of different memorabilia that you have or that exists around the world. And you also have a section called Inexplicable Crap. Is there one piece in there that just stands out for you as what in the world were they thinking? ARI KAHAN: Maybe the Death Records pillow. Like I can understand why they did. They made prototypes that never went out for sale. Why anybody would want it, you know, a dead bird, probably somebody wants a dead bird pillow, but the market would be limited.When the DVD for Phantom Palooza 2 came out, I bought that and then heard you talking somewhere about getting Jessica Harper to sing Old Souls, which is on the DVD. We just see the very end of her singing it. I'm guessing there were some technical problems or something with that. ARI KAHAN: It wasn't technical problems. It was the Paul Williams rider, which required that the show not be recorded. And I think that midway through Jessica singing, somebody might have said, or actually I think that's an audience--t might be an audience shot thing that we have. There's probably lots and lots of cell phone video out there of the show, but nobody related to who worked on Phantom Palooza—and I was one of the people who worked on Phantom Palooza—is going to be out there distributing anything that we agreed with Paul we would not even shoot. But, but yes, Jessica was absolutely a highlight of the show there. I was surprised that she went full force on the end of that song. ARI KAHAN: Well, there were no plans for her to perform. And the morning of the rehearsal, I said, “Hey, Jessica, you want to go down and watch Paul rehearse?” And I took her over to the auditorium and I was hoping that, you know, seeing that and being a performer at heart, she might be inspired to maybe, you know, participate. And she decided she would do Old Souls with Paul's band. And then she went back to the hotel and practiced the song, I think, all day in her hotel room and then, you know, knocked it out of the park that night. That's how I remember it. And then she came off stage and said, you know, now I know how Mick Jagger feels. It's a pretty stunning debut for her in that movie, to come from essentially nowhere—although she'd done things before that. And then the run that she had in the seventies, pretty unequaled when it comes to being the, um…ARI KAHAN: The queen of cult. Yeah. The queen of cult. And just the range, from Suspiria to My Favorite Year. You don't get a much broader range than that. ARI KAHAN: Pennies From Heaven. Yes, just phenomenal. Even just the wheat speech in Love and Death is worth the price of admission alone. ARI KAHAN: She played, uh, Gary Shandling's wife on The Gary Shandling show in the last season, named Phoebe, of all things. And in, I'm pretty sure it was the last episode of that show, she's held hostage by a phantom who lives under the set, who threatens to sabotage Gary's show, unless she will sing his song. And she ends up singing his song, which turns out to be YMCA. Wearing a dress that is very, very reminiscent of the one she wore to sing Old Souls in. And they even make a Pennies From Heaven joke. So, it's very inside baseball, I should say. Speaking of actors from that, I've always been blown away by William Finley's performance in the movie. I think it was Paul Williams who said something like, you know, he spends three quarters of the movie acting with one eye and metal teeth, and that's all he's got. And it's just flawless and so heartbreaking.And I'm just sorry we didn't get to see him in more movies. He's delightful in The Fury in a very small part. He's all over the early films. And I got the sense since I read somewhere that you did a eulogy for him, that you must have developed a friendship over the years. ARI KAHAN: Yeah. And, before we get to that, you say heartbreaking, right?And I think that that's one of the things about Phantom that was so ballsy. It's obviously a spoof of many things, but while being a spoof, it tries to get you to care about the characters. If, if you were not, you know, devastated at the end when Winslow dies just before Phoenix recognizes that it was him all along, you know, the film has failed.Whereas in other spoofs, you know, Rocky Horror doesn't ask you to care whether Brad and Janet will get back together after their experience or anything like that. Nobody asked you to care about the characters at all. And I think it's a huge risk that DePalma took in making a film like this: while simultaneously being a parody and a satire and a spoof and everything else, he wants you to care about the outcome. As far as Finley, I got to know Bill a little bit towards the end of his life after meeting him at Phantom Palooza. I went to New York and spent a little time with him and now I know his wife Susan pretty well and his son Dash a little bit. And when he died, Susan asked If I would put together some kind of a video montage for the funeral, which wasn't that—it's a celebration of life was what she was calling it. And I did that. And every time I had it finished—and, you know, I had like a day and a half to do this. And then I had to take the red eye to New York from California for this, for this event—every time I had it finished, she would send me a few more pictures and I'd have to, you know, redo it.And then she asked, could you set it to music? Could it be set to Faust? You know, okay. You know, you don't say no to a widow, right? And I was working at the time too. So, when I finally flew to New York, I was completely exhausted. And I got to the chapel I guess a couple of hours before the ceremony was supposed to start, so that we could make sure that this thing would play on their equipment and so on.And I'm taking a nap on one of the pews and Susan showed up with, you know, programs under her arm. And I picked up a program and saw that, right after Garrett Graham and Jessica Harper was supposed to speak, I'm supposed to speak. But I this was the first I was hearing about it. And so, I spent the first, unfortunately, the first part of the ceremony—where I really wanted to be paying full attention—kind of scrambling together what I was going to say.I have no idea what I said at this point. I hope it did Bill justice and didn't offend anybody, but I couldn't tell you now a single word of what I ended up saying there. And it's in front of, you know, various of the icons of my childhood, right, are in that chapel. So it's kind of like all of the nightmares of going to school and realizing that there's a test in the subject that you never took, and that you're not wearing pants, and all your ex-girlfriends are there laughing at you. Because I have my own podcast that has to do with my series of books, and like your site, I want to make it perpetual. But there's really no way to do that unless I set up a fund so that after I die they keep paying the site to keep running it. Because as soon as that site shuts down, the podcast goes away. And the same thing will happen to the archive. Whoever is hosting it, unless they're paid, it's gonna go away. I'm wondering, do you have a plan in place for all that information? ARI KAHAN: When I go, it goes.Oh, I feel like I set you up for that. Okay. Can I propose an alternate ending to that? ARI KAHAN: Sure. You essentially have a book there. You just have it in web form. You should put that together so that when it is done, when you are done, it can just be put into a book because it already reads like a book.ARI KAHAN: People have suggested that, and I've resisted doing a book because every now and then, some new fact comes to light that shows that something I had in there was wrong. And everything in there—virtually everything—is based on conversations that I've had with participants or material that came out at the time. None of it is taken from someone else's book or anything. So it's all fairly firsthand, but people have fallible memory. So, for example, the guy who made the phantom's helmet assured me that he had made only one. And it's crazy, because every production wants to have multiple copies of any key prop, because if something happens to the prop during shooting, shooting would have to, you know, it's an incredibly expensive problem to stop shooting waiting for another one.But as it turns out, he's, he's wrong. He made more than one. There is more than one. And so, every now and then, I have to correct something on the site. And if I put it out in book form, these books would be wrong. Potentially, something could come out in the future that that would make something with my name on it. Wrong. Imagine a book with a mistake. I can't imagine. ARI KAHAN: Exactly. And I can't abide that. So, it exists in electronic form so that I can edit it and improve it. Well, I would argue that you can do the ebooks, but that's, you know, that's your circus. It's not my circus. But you do raise an interesting question about misconceptions. I know that one of the biggest misconceptions is that it ran in Winnipeg forever and it didn't. I can—as someone who lived here in Minneapolis when Harold and Maude ran at the Westgate Theater for two and a half years—I can assure you it ran there for two and a half years, because I was there those two and a half years. So that was real. Is there another misconception out there about the movie that you just can't—like a whack a mole—get rid of? ARI KAHAN: So many. In fact, um, I think on my FAQ page, I list some of them. Is there an egregious one that just gets under your skin? ARI KAHAN: Yeah. The idea that it was only popular in Winnipeg and a couple other places is just completely wrong. It was big in Japan. It eventually became a big in Los Angeles. It never did anything in New York. Where it was actually biggest was not Winnipeg, it was El Salvador, where the songs hit number one on the radio. More than once. And it was brought back and revived many times. I get more mail from El Salvador than from anybody else.As we wrap up here, my favorite scene in the movie is the closing credits. I just love the music. I love what Paul Hirsch did with the assembly of that. And for years, I was living under the mistaken impression that in the credits, when it said Montage by Paul Hirsch, that that's what I was looking at was that montage. That's a montage. Then I was disabused of that in an interview with him—which I clarified with him. It was very nice to get back to me on Facebook when I said, “Am I correct in my understanding that the montage in the middle of the movie, the writing montage, you never saw that until the film was done? You had to put all the timing of that together, the animation of the writing, the placement of Phoenix's face on this part of the screen, and the Phantom and that, all the dissolves, all that timing?” And he said, “Yes it was a one-shot thing.” And I think for that he does deserve a special “Montage by Paul Hirsch,” because even today, with all the stuff we have, that would still be a challenging thing to do. And then not to be able to see the end result.But even with that, I just still love the closing credits. It's a combination of music, it allows me to revisit all my favorite scenes in the movie and a lot of my favorite shots. Do you have a favorite scene? ARI KAHAN: Well, I actually like those closing credits too, because most of the shots in those closing credits aren't actually in the film. Most of them are outtakes. And so, for example, in those closing credits, you have Swan splashing in the tub. There's Archie Han twirling around like this. And most of them, alternate takes. And they're clearly things that Paul Hirsch thought were charming and wanted to include that he couldn't put in the film.I suspect that you've held 35-millimeter film in your hands and cut shot A to shot B. I've only done that in 16mm. To keep a piece of film that short, hanging on a hook somewhere going, “I know I'm going to want to use that later.” Then finding that. I don't think people today understand what skill level was involved in, you know, that sort of thing, or the TIE Fighters in Star Wars that he did, or all that connection of little pieces, and tracking that and knowing that that's going to go there and that's going to go. It's so much easier today. And you had to make firmer decisions then earlier in the process than you do now, right? And fixing things was much more arduous. ARI KAHAN: You know, I think if they had to fix the Swan Song stuff out of Phantom and they were doing it using digital technology today, obviously, it'd be much faster and so on, but, uh, doing it on film. And having to send each change into the processing house, and then getting it back a few days later, and, uh, you know, it's a lot of work. It'd be horrible.But favorite scenes: The Goodbye Eddie number just remains a favorite. Do you know why? It's not fancy DePalma. It's a wide shot, two shot, a single. ARI KAHAN: That's right. It's the most conventionally shot thing in the film, but Archie Han is just so great in it. His delivery boy in My Favorite Year—when he does the punching—he just does the exact right thing at the right time. And I wish there'd been bigger movies with more Archie Han in them than what we got. ARI KAHAN: So does Archie. Okay, last question. If you take Phantom of the Paradise out of the mix, what would you say is your favorite De Palma movie?ARI KAHAN: Well, I'm not sure that Phantom of the Paradise is my favorite De Palma movie. It is a sentimental childhood favorite. But I go back and forth between Carlito's Way, Casualties of War, Femme Fatale, Carrie. And Raising Cain.I think that Femme Fatale is probably the one that came closest to his intention.It's the one that I think of as being, like, the most successfully realized, and I love it for that reason. Carlito's Way is just, by, I think, any objective standard, probably his best work. Then I love Blow Out. I'm not on the Blow Out train as much as everybody else. Maybe because it just, it goes so dark.ARI KAHAN: That's what I love about it is the devastating ending. I really love Peet Gelderboom's version of Raising Cain. Given all that, and given that you're 12 years old in 1974, 75, somewhere in there, and you're you're a movie freak at this point, which is a really good time in film history from that era. Is there a favorite? ARI KAHAN: So, I was really lucky that I was when I was 15 or 16, I was working at a theater called the UC theater in Berkeley, which was a repertory house that showed a different double bill every night. And any night that I wasn't working, I was there seeing movies.So, I saw lots and lots and lots of movies. And despite all that and all the weird stuff I saw, my favorites are probably the same things that every 70s kid's favorites were: Star Wars, Harold and Maude, The Godfather. I loved Harold and Maude so much that I bought an old hearse at one point.Okay, you win. ARI KAHAN: And I didn't keep it for long. It got like, I don't know how many gallons per mile. It was just not economical to have as a car, but it was fun for a while. I was very lucky when they hit the two-year mark here in Minneapolis, and I was a junior in high school, maybe. I happen to know the son of the local movie critic for the paper, and the critic knew that I was a big fan of Harold and Maude. And so he took me along on his press junkets. So, I had dinner with Bud Cort, got to chat with him. I got to hang out with Ruth Gordon for the day. ARI KAHAN: The only one I can propose to top that would be when I was in high school, I was writing for the school paper. Actually, I had stopped going to high school. I was the entertainment editor for the school paper, and I had stopped going to high school. I dropped out, but I kept submitting articles to the paper. And at some point, the newspaper staff changed my title from Entertainment Editor to Foreign Correspondent. And on the strength of that—when Tim Curry's first record, Read My Lips, came out, and he was coming to town to sign autographs at Tower Records—myself and a writer from the Berkeley Bar, which was a newspaper back then, had lunch with him around the corner from Tower Records just before he went off to do his autographing. And I was a huge Tim Curry fan. And I had to try to keep that under wraps and, you know, not ask any Rocky Horror related questions. And that was my claim to fame until all of the Phantom nonsense started.

We open Keith's birth month-o-movies with Brian de Palma's rock n roll Faust with a soupçon of Leroux/Lubin and a heaping scoop of Paul Williams. An excess of excess, an explosion of exploitation, a spectacle of split screens -- plus a special appearance by T.O.N.T.O.! We think it makes a perfect follow up to Velvet Goldmine. Relating to the Cass Review:  What the Cass Review Means for Trans Kids in Britain -- and Beyond | Natasha Hakimi Zapata Cass Review 'obscures key findings' and 'misrepresents data', finds Yale Law School | Ross HunterTrans Youth Suicides Covered Up By NHS, Cass After Restrictions, Say Whistleblowers | Mira Lazine ++++++ Theme by Professor Ping available on BandcampOutro: Bauhaus performing Party of the First Part --- Support this podcast: https://podcasters.spotify.com/pod/show/zandkmoviepod/support

Welcome back to the Horror. Cult. Trash. Other. Podcast! This week, we're starting off Musicals Month with a discussion about Brian De Palma's camp horror musical, Phantom of the Paradise, which features a very well written script that satires the music industry in the early 70s, stunning set and costume designs, and the Crabby Cook herself, Jessica Harper slaying as per usual. Alongside our main film discussion, we also discuss what we've been watching recently including A Quiet Place: Day One and Infested. Email us at horror.cult.trash.other@gmail.com and check us out on Social Media at the following links www.facebook.com/horrorculttrashother Twitter - @horrorculttrash Instagram - @horror.cult.trash.other Theme song is Stick Around by Gary's old band, One Week Stand. Check them out on Spotify, iTunes and many other digital distributors!

If this week's movie isn't a Frankenstein story, it is at the very least a Frankenstein Monster of a story, mashing Faust, Picture of Dorian Gray, Phantom of the Opera, Dracula, and (yes, even) Frankenstein together into something that's also kind of the Rocky Horror Picture Show? It's the best kind of crazy mess. Join us at the Paradise where you definitely (probably) won't get attacked by a vengeful Phantom in a spooky bird mask. Please rate, review, and tell your fiends. And be sure to subscribe so you don't miss future installments. Join us on Patreon at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/thefrankencast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ @thefrankencast or send us a letter at thefrankencast@gmail.com. We'd love to hear from you! Your Horror Hosts: Anthony Bowman (he/him) & Eric Velazquez (he/him). Cover painting by Amanda Keller (⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@KellerIllustrations on Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠).

Phantom of the Paradise is Brian De Palma's rock and roll horror take on Phantom of the Opera...and Faust...and The Picture of Dorian Gray. Join Juliet and Theresa to talk about this cult classic's parallels to Rocky Horror Picture Show, societal anxieties about rock and roll, and how sometimes a love triangle can be between two people and their intellectual property.CW/TW: rape and sexual assaultFurther reading: Why Phantom of the Paradise Became My Queer Quarantine Comfort by Tori Williams (Gayly Dreadful)Support us on Patreon!Theme music: "Book of Shadows" by Houseghost (Rad Girlfriend Records) Hosted on Acast. See acast.com/privacy for more information.

 DownloadBell Bottom Jeans, disco music blaring, mood rings, plaid suits were the normal for the year being discussed on this weeks episode, the year is 1974 and you are listening to LOTC 375. The crew is joined by special guest Bobby Harris Jr. to look at our top 5 horror movies from 1974. There some really heavy hitters in this year, Texas Chainsaw Massacre just to name one, what movies are making the list? Listen now and see. We want to Thank Bobby for being on the show and below are links to his social media sites if you would like to follow him. We also want to wish the Twisted Temptress healing vibes as she was not able to join us on the episode. So sit back and grab your favorite snacks and beverages and take a journey with us through the Land Of The Creeps!!HELP KEEP HORROR ALIVE!!TOP 5 LISTSBOBBY1. TEXAS CHAINSAW MASSACRE2. MADHOUSE3. BLACK CHRISTMAS4. LET SLEEPING CORPSES LIE 5. FROM BEYOND THE GRAVEDAVE1. TEXAS CHAINSAW MASSACRE2. BLACK CHRISTMAS3. CAPTAIN KRONOS : VAMPIRE HUNTER4. IT'S ALIVE5. DEMONIACSBILL1. TEXAS CHAINSAW MASSACRE2. BLACK CHRISTMAS3. THE KILLER RESERVED NINE SEATS4. PEOPLETOYS5. THE BEAST MUST DIEGREG1. TEXAS CHAINSAW MASSACRE2. BLACK CHRISTMAS3. PHANTOM OF THE PARADISE4. ALL THE KIND STRANGERS5. VAMPYRESBOBBY HARRIS JR LINKSINSTAGRAMFACEBOOKLETTERBOXDYOUTUBELOTC Links :Land Of The Creeps InstagramGregaMortisFacebookTwitterLand Of The Creeps Group PageLand Of The Creeps Fan PageJay Of  The Dead's New Horror Movie PodcastYoutubeInstagramEmailLetterboxdHaddonfield HatchetTwitterDr. ShockDVD Infatuation TwitterDVD Infatuation WebsiteFacebookHorror Movie PodcastJay Of The Dead's New Horror Movies PodcastYouTube ChannelLetterboxdDVD Infatuation PodcastThe Illustrated Fan PodcastBill Van Veghel LinkFacebookLetterboxdPhantom Galaxy PodcastTwisted Temptress LinkLetterboxdIAN IRZA LINKSBLOG SITEFACEBOOKTWITTERINSTAGRAMLOTC Hotline Number1-804-569-56821-804-569-LOTCLOTC Intro is provided by Andy Ussery, Below are links to his social mediaEmail:FacebookTwitterOutro music provided by Greg Whitaker Below is Greg's Twitter accountTwitterFacebookLespecial FacebookLespecial Website

Life at last!This week, Cody and Matt lay down some tasty jams and sizzling riffs in the second half of their De Palma De Double De Feature! They discuss tantalizing toe-tappers, superb cinematography, and that pretty wild Paul Williams. They also dive deep into the spooky resonance of theatrical superstitions while having real-time realizations of why Swan has a camera fixated on his bed.Then, Matt is joined by the Grand Ghoul himself: The Phantom of Isaac Rother & The Phantoms! He's stopped by to give Night Howls the heebie-jeebies and talk all things rock and roll. He discusses his albums, his stage show, and how to get a great deal on a custom guitar! Thanks for listening!Isaac Rother & The Phantoms socials: https://linktr.ee/isaacrotherandthephantomsThe Phantom's new single "Like A Wolfman": https://open.spotify.com/track/06MBsi4TsBnyqHPjyZkeTB?si=d9feb35e1cf746a8Night Howls socials: https://linktr.ee/nighthowlspod

durée : 00:20:58 - Les Nuits de France Culture - par : Philippe Garbit - En l'an 2000, Philippe Langlois proposait aux auditeurs de "Carnet de notes" de revisiter la magistrale BO de "Phantom of the Paradise", signée par Paul Williams et George Aliceson Tipton pour Brian De Palma, vingt-cinq ans plus tôt.

It's gonna be De Pal-MAY!! That's right, we're spending May discussing one of the greatest directors of his generation, Brian De Palma, this month, and we're starting things off by unlocking our Patreon episode discussing his 1973 Rock n' Roll musical, PHANTOM OF THE PARADISE!! Along the way, we talk about the journey of the Juicy Fruits, debate what makes Paul Williams so compelling onscreen, shuffle along to Phoenix's unique dance style, and worship at the altar of Beef!! All this, plus a deep examination of orgy etiquette at Swan's mansion and what kind of weird teeth we'd slap in our mouth after an industrial record press accident!! Join us for The Hell Of It this week on Kill By Kill!! NOTE: Next week, we are back with an all-new episode going deep into 1976's CARRIE! You won't want to miss it!!  Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today! Our linker.ee Click here to visit our TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's Substack called Gena Watches Things!! Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!

Before Aquatic Attack April sinks to the bottom of the sea, we have one more gilled beastie to battle!! That's right, we're gulping down the oceanic variation of ALIEN and THE THING, the Italian-spiced creature feature, LEVIATHAN!! Here to help us dig for precious metals out of the raw schlock ore are two Returning Champions to the show, the Horror Queers themselves, Joe Lipsett & Trace Thurman!! Along the way, we talk about 1989's Battle of the Deep Sea flicks, worship at the alter of Ernie Hudson, Trace keeps track of every sign inside the Mining Shack #7, debate the best underwear to bring for mining, clock every incident of sexual harassment, and ask what the NASA of the ocean is!! All this, plus we read the “Soul Pizza” Sea Monster for filth and play an extremely wet and fishy version of Choose Your Own Deathventure!! We get under the surface immediately this week on Kill By Kill: Aquatic Attack April!!  Check out Joe & Trace's Horror Queers podcast - and listen to Joe & Gena's White Ladies in Crisis here!  Next week, IT'S GONNA BE DE PAL-MAY!! Four episodes covering Brian De Palma horror films starting with PHANTOM OF THE PARADISE (1974), followed by CARRIE (1976), THE FURY (1978), and BODY DOUBLE (1984)!!    Artwork by Josh Hollis: joshhollis.com Kill By Kill theme by Revenge Body. For the full-length version and more great music, head to revengebodymemphis.bandcamp.com today! Our linker.ee Click here to visit our TeePublic shop for killer merch! Join the conversation about any episode on the Facebook Group! Follow us on IG @killbykillpodcast!! Join us on Threads or even Bluesky Check out Gena's Substack called Gena Watches Things!! Check out the films we've covered & what might come soon on Letterboxd! Get even more episodes exclusively on Patreon!

Taking a break from 00's religious horror, creature features, and Saw traps, this week the boys put on their fancy cloths and go to the opera in this weeks episode of Phantom of the Paradise (1974). Is this Academy and Golden Globe nominated film Untouchable by todays musicals or is a complete Blow Out? Come see if Brian De Palma rocks our hearts or if it was Mission Impossible from the start.https://www.teepublic.com/user/ruminationsradionetworkwww.RuminationsRadioNetwork.comwww.instagram.com/ruminationsofredrumhttps://twitter.com/OfRedrumwww.instagram.com/RuminationsRadioNetworkTwitter: RuminationsRadioNetwork@RuminationsNhttps://www.patreon.com/RuminationsRadioMusic and Production by Mitch Proctor for Area 42 Studios and SoundEpisode Artwork Charles Langley and Mitch Proctor for Area 42 Studios and Soundhttps://www.patreon.com/RuminationsRadio ★ Support this podcast on Patreon ★

You know what the people secretly yearn for? Musical episodes. We're joined by LA-based Art and Production Designer, Abbie Vance, known for projects like The Wolf of Snow Hollow, Deadstream and Nine Days, who speaks about the movie that pushed her from a path in film direction & writing to production design - The Phantom of the Paradise (1974). Aside from her experience with the movie, we have lots of unique trivia to share about The Phantom of the Paradise, even about one of France's most famous bands that credits their aesthetic and start to this movie. I highly recommend this episode and discussion. Don't miss out.

Many years ago Alexx made John sign a contract in blood. Today, John and Alexx discuss Phantom of the Paradise. A connection? You decide. The post Phantom of the Paradise appeared first on John and Alexx Hate Stuff.

The Muppet Movie, Phantom Of The Paradise, Bugsy Malone, A Star Is Born, “You And Me Against The World”, Smokey & The Bandit...what singular magical element do these cultural touchstones have in common? The legendary, inspirational & hilarious singer, songwriter, actor,  author, recovery advocate/counselor AND President of ASCAP known as PAUL WILLIAMS. Yes, one of my all-time heroes joins me for a truly special episode full of love and laughter that is sure to lift your spirits, heart & mind as much as it did (and still does) mine. Join the Craig & Friends Patreon to support the show and receive Hott bonus content  If you or a loved on is in need of help with drugs and/or alcohol: SAMHSA For More Paul: Official Website  Instagram Twitter Craig & Friends  Instagram Twitter 

Dave and Bryan take a look at a staple of the cult movie circuit, Brian De Palma's bizarre pop music opera and riff on gothic horror, Phantom of the Paradise. It's a wild ride through the nostalgia wave of the 1970's, standout performances from a bright cast, and the music of the movie's villain, Paul Williams, whose hair is just magnificent! Trailer: https://www.youtube.com/watch?v=T9yof8cwli4 --- Send in a voice message: https://podcasters.spotify.com/pod/show/bring-me-the-axe/message

Ron, Steve, and John kick off 2024 with a look at Brian De Palma's 1974 horror-comedy-musical Phantom of the Paradise and then dig into the mysteries of True Detective's triumphant return with an eerie and atmospheric fourth season called Night Country.

Craig and special guest co-host Jake Shears welcome Jessica Harper to talk Crabby Cooking, naked rooftop dancing, Weapons Of Ass Destruction, Jessica's fabulous podcast “Winnetka”, Bette Midler, the magic of Paul Williams, being a mom, “Phantom Of The Paradise”, spanking situations, Dario Argento, “Stardust Memories”, bakin' til it bubbles, being in “Suspiria” twice,, Brian De Palma, WASPland, “Shock Treatment”, working across the hall from New York Dolls, bad trips, full-circle moments and more! Get lots of hott bonus content by going to ⁠https://www.patreon.com/CraigAndFriends⁠ Snatch up ad-free & early versions of these episodes, bonus episodes, Movie Club episodes and more while supporting the show. Jessica Harper ⁠https://jessicaharper.com⁠ ⁠http://www.winnetkapodcast.com⁠ ⁠https://www.instagram.com/jessicaharperama⁠ Jake Shears ⁠https://www.instagram.com/jakeshears⁠ Craig ⁠https://www.instagram.com/craigandfriendspod⁠ ⁠https://www.instagram.com/videodromedisco⁠ ⁠https://twitter.com/craigandfriends⁠ ⁠https://linktr.ee/CraigAndFriends

Patrick and JB sell their souls for rock 'n' roll. Download this episode here. (36.2 MB) Listen to F This Movie! on Spotify and on Apple Podcasts. Also discussed this episode: The Exorcist (1973), No One Will Save You (2023), Stop Making Sense (1984), Insidious: The Red Door (2023), Slotherhouse (2023), End of the Line (2007)

Michael and Abe are joined by Vanessa Guerrero to discuss 1974's Phantom of the Paradise, directed by Brian De Palma. All three weigh in on this cult classic and bask in the glory of Beef. If you enjoy the campy, wild style of films like Rocky Horror Picture Show or Eraserhead, you should watch this movie. Features: Vanessa Guerrero: https://twitter.com/nessguerrero Michael Swaim: https://twitter.com/SWAIM_CORP Abe Epperson: https://twitter.com/AbeTheMighty Support Small Beans and access Additional Content: https://www.patreon.com/SmallBeans Check our store to buy Small Beans merch! https://www.teepublic.com/stores/the-small-beans-store?ref_id=22691

Eric is taking us back to the 1970's for what we believe is the second time ever on this show. We're diving into Brian De Palma's Phantom of the Paradise (1974). Does this film hold up? Well, if you don't know by now, all you gotta do is press play! We also provide our quarantine viewing picks which now come with a bit more brevity. In addition, please go to our YouTube page and click on Eric Branstrom's profile so you can watch his new short film Instant Life. Please sub our YouTube where you can watch all of our episodes. We don't live stream the show anymore, but we do post the video of each episode. Also, you can give us a 5 star review on your podcast platform of choice. Do it right now! Take 20 seconds. Thank you! If anything from this episode strikes you, email the show cinema9pod@gmail.com