Podcast appearances and mentions of Philip Kaufman

New Patreon supporter Greig has reached back into the 1970's for his first pick and it from the year of the gang movie, 1979's The Wanderers!The production of The Wanderers (1979), directed by Philip Kaufman and co-written with his wife Rose Kaufman, was an adaptation of Richard Price's debut novel. Set in the Bronx of 1963, the film aimed to authentically portray the era's street gang culture. Filming took place on location in various Bronx neighborhoods, including Fordham Road, the Grand Concourse, and Pelham Parkway. Cinematographer Michael Chapman, known for his work on Taxi Driver and Raging Bull, contributed to the film's dynamic visual style. The cast featured emerging talents such as Ken Wahl, John Friedrich, Karen Allen, Toni Kalem, and Tony Ganios.Despite not achieving significant box office success upon its release, The Wanderers garnered critical acclaim for its vivid depiction of adolescence and gang life. Over time, it developed a cult following, appreciated for its blend of nostalgia, pathos, and drama. The film's soundtrack, featuring a selection of late 1950s and early 1960s rock and roll, further enhanced its period authenticity. In 1996, Warner Bros. re-released the film theatrically in the United States, reflecting its enduring appeal.If you enjoy the show we have a Patreon, so become a supporter.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Trailer Guy Plot SummaryIn a world teetering on the edge of innocence and rebellion, The Wanderers takes you back to 1963 Bronx, where leather jackets were armor and gangs ruled the streets like teenage warlords. Meet Richie and his crew — not just tough guys, but kings of the block — navigating high school, heartbreak, and turf wars in a city simmering with change. As rival gangs clash and the world around them begins to shift, these boys must face the end of adolescence and the beginning of something far more dangerous… adulthood. Get ready for fists, friendship, and the fight to find your place — this fall… The Wanderers walk alone.⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠

Lee and Daniel are joined in this episode by their friend Jack Graham, who co-hosts the I Don't Speak German podcast with Daniel, to talk about "Rising Sun" (1993), directed by Philip Kaufman, and based on the novel by Michael Crichton. The film follows Sean Connery and Wesley Snipes as they navigate Japanese culture, while trying to solve a murder, in ways that sometimes make Mickey Rooney's yellow face performance in "Breakfast at Tiffany's" look somewhat tame in comparison. Is there anything to salvage from this outdated trainwreck? Is the Crichton novel any better? The hosts also talk about what they've watched as of late. Thankfully no racist Japanese accents were used in the recording of this podcast, but a few bad Connery impressions might have slipped by the edit. "Rising Sun" IMDB  Jack and Daniel can be heard together on the I Don't Speak German podcast.  Daniel's Bluesky and Patreon.   Jack's Bluesky and Patreon.   Lee's Bluesky (also doubles as the TMBDOS! Bluesky).  Featured Music: "Eddie's Alive" and "Cemented" by Toru Takemitsu.

Émission traumatismes, enquête et calamités. Le long de la jetée, personne prend l'deuil quand on t'emmène, t'as qu'ton orgueil et puis ta peine. Vaudrait mieux rester d'bout cette fois tant qu' t'as d' la veine, va falloir guetter sous la pluie, va falloir courir seul sans bruit, va falloir chercher si longtemps, pour trouver l'autre bout d' la nuit. Enfin bref, il est 19h...Émission disponible itou on da tube :Au programme cette semaine :* Le cinquième plan de "La jetée", de Dominique Cabrera. Qu'il y a-t-il derrière les images ? * Le Clan des Bêtes (Bring Them Down), de Christopher Andrews______PUBLIC SERVICE ANNOUNCEMENT: Le Film du Dimanche Soir, dimanche 08 juin, LE MEILLEUR FILM DU MONDE.______Coups de cœur:THOMAS: Miss Lovely (Ashim Ahluwalia) + Spartan (David Mamet)THIBAUT: L'Invasion des profanateurs (Philip Kaufman)

Testrablók támadása: Másodszorra Mafab     2025-04-15 05:41:02     Film Finnország Philip Kaufman filmje a második adaptációja Jack Finney 1955-ben írt, The Body Snatchers című regényének. Már az indítás is hihetetlenül érdekes és formabontó. Egy kifejezetten kopár, teljesen kipusztult, halott bolygón járunk, ahonnan valamilyen fátyolszerű, teljesen áttetsző spórák indulnak útnak a napszél segítségével az űr feketeségén át Földün Kokas Katalin és lánya, Kelemen Hanna folytatja az Alma és fája sorozatot kultura.hu     2025-04-14 17:54:08     Zene Koncert A Budapesti Vonósok Alma és fája koncertsorozatában muzsikus dinasztiák tagjai lépnek színpadra. Április 27-én hegedűművész édesanyja produkcióját narrálja a fiatal színművész. 300 izraeli író kemény petíciót írt a kormánynak Librarius     2025-04-15 08:00:05     Könyv háború Izrael Palesztina Gázai övezet Petíció Háromszáz izraeli író és költő petícióban követeli a gázai háború azonnali leállítását és a túszok hazahozatalát. A Minecraft-film két hét alatt letarolta a mozikat – már félmilliárd dollár felett a bevétel HírTV     2025-04-14 22:10:00     Film Mozi Pixelek hódították meg a mozikat szerte a világon. Alig két hete mutatták be, de máris a 2025-ös év legsikeresebb filmje a Minecraft-film. Így tarolta le Isaura az egész világot 24.hu     2025-04-14 21:02:39     Film Minden idők egyik legnagyobb sorozatsikere volt Magyarországon is a Rabszolgasors. Minek a kezdete volt Isaura globális népszerűsége, és mit lehet tudni az állítólagos magyar pénzgyűjtési akcióról? 6 kiváló sorozat, ha imádtad a Kamaszokat Hamu és Gyémánt     2025-04-15 08:24:02     Film Netflix A Netflixen márciusban debütált Kamaszok sokkolta a közönséget. Az alkotás nemcsak a témája, de a filmes eszköztárak használata miatt is rövid időn belül a streamingcsatorna egyik legnézettebb sorozata lett. A széria azért is maradhat meg sokáig az emlékezetünkben, mert rendkívül fontos és húsba vágóan aktuális problémákat feszeget. Ha te is szeret Régiről az újra: könyvajánló mindenkinek Magyar Hírlap     2025-04-14 20:55:04     Könyv Sokan keresik a következő nagy olvasmányukat, amely kikapcsolja őket a hétköznapokból, feltölti a képzeletüket, és egyszerre szórakoztató is. Squid Game-legót dobott piacra a Mattel in.hu     2025-04-14 18:25:03     Film Netflix Dél-Korea LEGO A Mattel Creations új MEGA Squid Game készletében egy mozgó lépcsőház, apró csatlósok és a Frontember parancsnoki központja található.A Netflix egyik legnagyobb népszerűségnek örvendő sorozata, a Squid Game, amely a társadalmi-gazdasági egyenlőtlenségeket tárja fel egy halálos versenyen keresztül, számos rekorddal büszkélkedhet. A dél-koreai tévéso Elsőre csak megsebzett, másodikra már kiüt a The Last of Us Telex     2025-04-14 23:09:14     Film The Last of Us A második évadban mélyebbre megy és a szereplőivel és nézőivel is kegyetlenebb a The Last of Us. A folytatás tele van feszült akciójelenettel, de az új évad a csendes pillanatai miatt emlékezetes igazán. Édes húsvéti fotón Tápai Szabina és Kucsera Gábor a gyerekeikkel Story     2025-04-15 06:00:18     Bulvár Húsvét Kucsera Gábor Tápai Szabina Szabina arról mesélt, melyik gyerek kire hasonlít a leginkább, és ki az, akiről még találgatják, kire ütött. Összeállt a Roxfort új tanári kara, hivatalosan is bejelentették, ki fogja játszani Hagridot, Pitont, McGalagonyt és Mógust refresher.hu     2025-04-15 08:49:00     Film Harry Potter Az új Harry Potter sorozat körül sok pletyka keringett az elmúlt hónapokban, és bár azt egyelőre nem tudni, ki bújik Harry, Hermione és Ron szerepébe, Dumbledore-ról, McGalagonyról és Pitonról már tudjuk, kinek a személyében térnek vissza. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Testrablók támadása: Másodszorra Mafab     2025-04-15 05:41:02     Film Finnország Philip Kaufman filmje a második adaptációja Jack Finney 1955-ben írt, The Body Snatchers című regényének. Már az indítás is hihetetlenül érdekes és formabontó. Egy kifejezetten kopár, teljesen kipusztult, halott bolygón járunk, ahonnan valamilyen fátyolszerű, teljesen áttetsző spórák indulnak útnak a napszél segítségével az űr feketeségén át Földün Kokas Katalin és lánya, Kelemen Hanna folytatja az Alma és fája sorozatot kultura.hu     2025-04-14 17:54:08     Zene Koncert A Budapesti Vonósok Alma és fája koncertsorozatában muzsikus dinasztiák tagjai lépnek színpadra. Április 27-én hegedűművész édesanyja produkcióját narrálja a fiatal színművész. 300 izraeli író kemény petíciót írt a kormánynak Librarius     2025-04-15 08:00:05     Könyv háború Izrael Palesztina Gázai övezet Petíció Háromszáz izraeli író és költő petícióban követeli a gázai háború azonnali leállítását és a túszok hazahozatalát. A Minecraft-film két hét alatt letarolta a mozikat – már félmilliárd dollár felett a bevétel HírTV     2025-04-14 22:10:00     Film Mozi Pixelek hódították meg a mozikat szerte a világon. Alig két hete mutatták be, de máris a 2025-ös év legsikeresebb filmje a Minecraft-film. Így tarolta le Isaura az egész világot 24.hu     2025-04-14 21:02:39     Film Minden idők egyik legnagyobb sorozatsikere volt Magyarországon is a Rabszolgasors. Minek a kezdete volt Isaura globális népszerűsége, és mit lehet tudni az állítólagos magyar pénzgyűjtési akcióról? 6 kiváló sorozat, ha imádtad a Kamaszokat Hamu és Gyémánt     2025-04-15 08:24:02     Film Netflix A Netflixen márciusban debütált Kamaszok sokkolta a közönséget. Az alkotás nemcsak a témája, de a filmes eszköztárak használata miatt is rövid időn belül a streamingcsatorna egyik legnézettebb sorozata lett. A széria azért is maradhat meg sokáig az emlékezetünkben, mert rendkívül fontos és húsba vágóan aktuális problémákat feszeget. Ha te is szeret Régiről az újra: könyvajánló mindenkinek Magyar Hírlap     2025-04-14 20:55:04     Könyv Sokan keresik a következő nagy olvasmányukat, amely kikapcsolja őket a hétköznapokból, feltölti a képzeletüket, és egyszerre szórakoztató is. Squid Game-legót dobott piacra a Mattel in.hu     2025-04-14 18:25:03     Film Netflix Dél-Korea LEGO A Mattel Creations új MEGA Squid Game készletében egy mozgó lépcsőház, apró csatlósok és a Frontember parancsnoki központja található.A Netflix egyik legnagyobb népszerűségnek örvendő sorozata, a Squid Game, amely a társadalmi-gazdasági egyenlőtlenségeket tárja fel egy halálos versenyen keresztül, számos rekorddal büszkélkedhet. A dél-koreai tévéso Elsőre csak megsebzett, másodikra már kiüt a The Last of Us Telex     2025-04-14 23:09:14     Film The Last of Us A második évadban mélyebbre megy és a szereplőivel és nézőivel is kegyetlenebb a The Last of Us. A folytatás tele van feszült akciójelenettel, de az új évad a csendes pillanatai miatt emlékezetes igazán. Édes húsvéti fotón Tápai Szabina és Kucsera Gábor a gyerekeikkel Story     2025-04-15 06:00:18     Bulvár Húsvét Kucsera Gábor Tápai Szabina Szabina arról mesélt, melyik gyerek kire hasonlít a leginkább, és ki az, akiről még találgatják, kire ütött. Összeállt a Roxfort új tanári kara, hivatalosan is bejelentették, ki fogja játszani Hagridot, Pitont, McGalagonyt és Mógust refresher.hu     2025-04-15 08:49:00     Film Harry Potter Az új Harry Potter sorozat körül sok pletyka keringett az elmúlt hónapokban, és bár azt egyelőre nem tudni, ki bújik Harry, Hermione és Ron szerepébe, Dumbledore-ról, McGalagonyról és Pitonról már tudjuk, kinek a személyében térnek vissza. A további adásainkat keresd a podcast.hirstart.hu oldalunkon.

Prepare to shriek because we're talking about Philip Kaufman's remake of Invasion of the Body Snatchers (1978) for week 3 of 'Doppelgänger and Deception' month. There's a lot to unpack in this technical masterpiece, including the vital early character work, the amazing practical effects, and that fatalistic ending. Plus: directing bukkake, debating Leonard Nimoy's Kibner, the "Me Decade" of the 70s, one of cinema's most devastating deaths, and comparison to the other Body Snatcher remakes. References: > Brandon Stanwyck. "Danse Macabre #14: Film Review — "Invasion of the Body Snatchers" (1978)". Fearsome Queer > LKEKE35. "Invasion of the Bodysnatchers (1978): The Loss of Self." Geeking Out About It Questions? Comments? Snark? Connect with the boys on BlueSky, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group or brand new Horror Queers Discord to get in touch with other listeners. > Trace: @tracedthurman > Joe: @bstolemyremote  Be sure to support the boys on Patreon!   Theme Music: Alexander Nakarada    Learn more about your ad choices. Visit megaphone.fm/adchoices

Louis Cameron Gossett Jr. (May 27, 1936 – March 29, 2024) was an American actor. He made his stage debut at the age of 17. Shortly thereafter, he successfully auditioned for the Broadway play Take a Giant Step. Gossett continued acting onstage in critically acclaimed plays including A Raisin in the Sun (1959), The Blacks (1961), Tambourines to Glory (1963), and The Zulu and the Zayda (1965). In 1977, Gossett appeared in the popular miniseries Roots, for which he won Outstanding Lead Actor for a Single Appearance in a Drama or Comedy Series at the Emmy Awards.Gossett continued acting in high-profile films, television, plays, and video games. In 1982, for his role as Gunnery Sergeant Emil Foley in An Officer and a Gentleman, he won the Academy Award for Best Supporting Actor and became the first African-American actor to win in this category. At the Emmy Awards, Gossett continued to receive recognition, with nominations for The Sentry Collection Presents Ben Vereen: His Roots (1978), Backstairs at the White House (1979), Palmerstown, U.S.A. (1981), Sadat (1983), A Gathering of Old Men (1987), Touched by an Angel (1997), and Watchmen (2019). He won and was nominated at other ceremonies including the Golden Globe Awards, Black Reel Awards, and NAACP Image Awards. Gossett was also well known for his role as Colonel Chappy Sinclair in the Iron Eagle film series (1986–1995).Gossett's other film appearances include Hal Ashby's The Landlord (1970), Paul Bogart's Skin Game (1971), George Cukor's Travels with My Aunt (1972), Stuart Rosenberg's The Laughing Policeman (1974), Philip Kaufman's The White Dawn (1974), Peter Yates's The Deep (1977), Wolfgang Petersen's Enemy Mine (1985), Christopher Cain's The Principal (1987), Mark Goldblatt's The Punisher (1989), Daniel Petrie's Toy Soldiers (1991), and Blitz Bazawule's The Color Purple (2023), his television appearances include Bonanza (1971), The Jeffersons (1975), American Playhouse (1990), Stargate SG-1 (2005), Boardwalk Empire (2013), The Book of Negroes (2015).PICTURE: By Los Angeles Times - https://digital.library.ucla.edu/catalog/ark:/13030/hb40000626, CC BY 4.0, https://commons.wikimedia.org/w/index.php?curid=146890888

Ya estamos de vuelta. Cuervo rojo podcast vuelve una semana más. EN esta ocasión os presentamos una relajada tertulia alrededor de uno de los clásicos del cine de ciencia ficción... con todos ustedes...La invasión de los ultra cuerpos. Despiezamos la versión de 1978 que tanto marcó a una generación con un espectacular Donald Sutherland y bajo la dirección de Philip Kaufman. Póngase cómodos frente a su aparato que ya comienza Cuervo Rojo.

Soutenez nous sur Patreon Forfait 3€ épisode en accès anticipé sans pub Forfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Premier épisode de cette nouvelle année 2025 et à l'occasion de la sortie du nouveau film de Mel Gibson ; Vol à Haut Risque. Nous avons décidé de nous mettre dans la sauce en vous parlant d'un de films les plus casse-gueule des années 2000, La Passion du ChristTourné en hiver 2002 à Rome à la Cinecittà en Araméen et en latin, production majoritairement australienne avec un budget de 30 millions de dollars par Icon Productions la boîte de production de Mel Gibson et Bruce Davey aidé à la distribution par une boîte de prod indépendante Newmarket Films. Écrit par Mel Gibson et Benedict Fitzgerald qui n'a rien fait d'extraordinaire dans sa vie de scénariste à par gagner un procès dont on parlera plus tard. Troisième film réalisé par Mel Gibson accompagné de Caleb Deschanel à la photographie qui a été connu dans les années 80's pour son travail sur l'Étoffe des Héros de Philip Kaufman, il a réalisé des épisodes de Twin Peaks de David Lynch et Mark Frost, et collaboré avec tout un tas de réal, Cameron, Friedkin, Cassavets, Levinson et même Roland Emmerich dont il a été nommé pour la meilleur photo sur The Patriot.Mais il a aussi mis en lumière Abraham Lincoln : Chasseur de Vampires et ça on peut lui dire bravoLa Passion du Christ nous montre les dernières heures de la vie de Jésus selon le nouveau testament, le livre La douloureuse passion de notre seigneur Jésus-Christ de Anne Catherine Emmerich et le cerveau malade de Mel Gibson. Jésus inventeur de la table à manger, interprété par Jim Caviezel trahi par Judas pour la valeur de deux tickets restaurant se retrouve aux mains des chefs pharisiens qui le poursuivait pour blasphème et le condamne à mort. Abonnez vous sur Peakgaming pour les streams jeu vidéo Enregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtubeChroniqueur.e.es : Marvin MONTES, Mathieu BONTEMPS et présenté par Luc LE GONIDECHost : Luc LE GONIDECMusique Jean Baptise BLAIS Montage et mixage son : Luc LE GONIDEC Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

1974 was a landmark year for film, a convergence of exciting international cinema and the original voices of New Hollywood that still resonates 50 years later. In our new series we invite a different guest for each episode to choose a 1974 movie to talk about, ranging from giant blockbusters to minor cult curios and everything else in between. We start winding down the series with a great companion piece to our past episodes on "wilderness adventure" classics Dersu Uzala and Quest for Fire. Filmmaker Jeremy Workman returns to discuss Philip Kaufman's The White Dawn, the story of three whalers who become stranded in the Northern Arctic and end up integrating with an Inuit tribe. There's a lot to talk about, from Kaufman's status as possibly the most underrated of 70's directors to Michael Chapman's naturalistic photography, the film's inspired use of diegetic music, authentic regional language and frozen landscapes, and how this movie is definitely not Louis Malle's Black Moon. Jeremy Workman on social media @jeremyworkman on Twitter Jeremy Workman's website https://jeremyworkman.com/ Website for Secret Mall Apartment secretmallapartment.com Support our Patreon: www.patreon.com/thepinksmoke The Pink Smoke site: www.thepinksmoke.com The Pink Smoke on X: twitter.com/thepinksmoke Christopher Funderburg on X: twitter.com/cfunderburg John Cribbs on X: twitter.com/TheLastMachine Intro music: Unleash the Bastards / “Tea for Two” Outro music: Marcus Pinn / “Vegas”

While appearing to be a 'remake' of a beloved 1956 thriller, based on a 1955 novel, but much like the Pod People, there's way more to the 1978 Invasion of the Body Snatchers than what appears on the surface. Starring Donald Sutherland, Brooke Adams, Leonard Nimoy, Jeff Goldblum, and Veronica Cartwright and Directed by Philip Kaufman. It's one of the best movies we've ever covered and deserves to be watched in the Halloween season. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

It's pod people, pop psychologists, mud baths, and one very grumpy health inspector this week. Philip Kaufman's iconic remake is bursting with 1970s cooky vibes, courtesy of Michael Chapman's singular cinematography, and Leonard Nimoy's very small leather glove. Best remake of all time?Next week we're going for what may be the biggest alien movie of them all...Steven Spielberg's 1982 E.T. THE EXTRA-TERRESTRIAL. Join the conversation on Eye of the Discord at https://discord.com/invite/RssDc3brsx.References:Special FeaturesStar Crossed in The Invasion with Brooke AdamsRe-Creating the Invasion: Interview with Screenwriter W.D. RichterScoring the Invasion: Interview with Composer Denny ZeitlinLeading the Invasion: Interview with Actor Art HindleRe-Visitors from Outer Space, or How I Learned to Stop Worrying and Love the PodPractical Magic: The Special Effects PodThe Man Behind the Scream: The Sound Effects PodThe Invasion Will Be Televised: The Cinematography PodThe Hollywood Reporter Production HistoryThe Fan Can Production HistoryCinefantastique Production HistoryStarlog Production HistoryThe Guardian Production HistoryCredits:Eye of the Duck is created, hosted, and produced by Dom Nero and Adam Volerich.This episode was edited by Michael Gaspari.This episode was researched by Parth Marathe.Our logo was designed by Francesca Volerich. You can purchase her work at francescavolerich.com/shopThe "Adam's Blu-Ray Corner" theme was produced by Chase Sterling.This miniseries was programmed with the help of Nik Long.Follow us on Twitter, Instagram, and Letterboxd or join the conversation at Eye of the DiscordLearn more at eyeoftheduckpod.comSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The gang are joined by special guest writer/culture critic Kayleigh Donaldson as they delve into the world of 18th Century France and legendary provocateur/filth-peddler, the Marquis de Sade, for a tale of smut, censorship and dehumanisation in Philip Kaufman's 2000 film Quills.   Follow Kayleigh on Twitter     Night on the Docks - Sax Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/

Les Ciné-Buddies Philippe Setbon et Jean Veber Vs "L'invasion des profanateurs", 1978, réalisé par Philip Kaufman, starring Donald Sutherland et Brooke Adams. SVP likez, commentez, followez, partagez et souscrivez partout.

Charles Skaggs & Xan Sprouse watch Invasion of the Body Snatchers, the 1978 science-fiction horror film directed by Philip Kaufman, featuring Donald Sutherland as Matthew Bennell, Brooke Adams as Elizabeth Driscoll, Jeff Goldblum as Jack Bellicec, and Leonard Nimoy as Dr. David Kibner! Find us here:X/Twitter:  @DrunkCinemaCast, @CharlesSkaggs, @udanax19  Facebook:  @DrunkCinema Email:  DrunkCinemaPodcast@gmail.com Listen and subscribe to us on Apple Podcasts and leave us a review!

On this episode of The Movies Made Us Do It, Durs and Matt discuss Philip Kaufman's Invasion of the Body Snatchers (1978) Find links to all of our shows here: Linktr.ee/DursProductions #PhilipKaufman #InvasionoftheBodySnatchers #DonaldSutherland #BrookeAdams #LeonardNimoy #JeffGoldblum #Scifi #sciencefiction #dursproductions #dursproductionspodcasts #filmpodcast #moviepodcast #moviereview #filmreview

Unlike lots of people their age, neither Laci nor Matt grew up with the Indiana Jones films. But at least one of them has fallen in love with the franchise as an adult, especially this first film. The two talk about the origins of Raiders of the Lost Ark on a beach in Hawaii in 1977 as Steven Spielberg and George Lucas built sandcastles together. One imagines they were very well-crafted and functional sandcastles, Lucas's a little too clinical, Spielberg's a little sappy. Still, they were good castles, is what we're saying. Matt recalls his first time watching Raiders of the Lost Ark at the relatively late age of 16, while Laci has mushed all the Indiana Jones movies together and experiences all of time as one instant. But she loves Harrison Ford as Indiana Jones! He's doing a lot of work, she says.  Then the podcast goes very thoroughly through the film, recapping Raiders of the Lost Ark in excruciating detail. Harrison Ford and Karen Allen are great, of course, but Paul Freeman as René Belloq kind of steals the movie.  Does the film do enough with Indiana Jones's fear of snakes? Is the Raiders of the Lost Ark car chase the best in movie history? Is the plot of this movie too hard to follow? This and much more is litigated over this spirited two-hour Raiders of the Lost Ark movie review.    Watch this episode in full: https://youtu.be/tZNfFFFYhkQ   Next week: A.I. Artificial Intelligence (2001)!   ALSO catch us on TikTok Live talking about the entire Indiana Jones franchise on July 19, 2024 at 9:00 p.m. EST. Join the discusion! https://www.tiktok.com/@load.bearing.beams   Time stamps: 00:02:21 — Big-picture thoughts on the Indiana Jones franchise 00:10:16 — Our personal histories with the Indiana Jones franchise 00:17:19 — History segment: The origins of Indiana Jones with George Lucas and Philip Kaufman; Lucas brings Spielberg on board in 1977; the two hire Lawrence Kasdan to write the script; casting Harrison Ford and Karen Allen; production, release, and legacy 00:46:38 — In-depth discussion of Raiders of the Lost Ark 01:47:39 — Final thoughts and star ratings   Artwork by Laci Roth.   Music by Rural Route Nine. Listen to their album The Joy of Averages on Spotify (https://bit.ly/48WBtUa), Apple Music (https://bit.ly/3Q6kOVC), or YouTube (https://bit.ly/3MbU6tC).   Songs by Rural Route Nine in this episode: “Summer of Spielberg” - https://youtu.be/yglAqqLEaoI   “Winston-Salem” - https://youtu.be/-acMutUf8IM    “Snake Drama” - https://youtu.be/xrzz8_2Mqkg   “The Bible Towers of Bluebonnet” - https://youtu.be/k7wlxTGGEIQ     “Summer of Spielberg” theme song credits: Words and music written by Matt Stokes Performed by Wade Hymel (drums/guitar), Laci Roth (vocals), and Matt Stokes (vocals/guitar/bass) Produced by TJ Barends, Wade Hymel, and Matt Stokes Engineered and mixed by TJ Barends at Bare Sounds Studio in Ponchatoula, Louisiana   Sources: The Complete Making of Indiana Jones: The Definitive Story Behind All Four Films by J.W. Rinzler - https://amzn.to/3LipUfr  Steven Spielberg: A Biography by Joseph McBride - https://amzn.to/3xzYOx1 George Lucas: A Life by Brian Jay Jones - https://amzn.to/3XX2rI8   

Drusilla and Josh honor the late, great Donald Sutherland in The Invasion of the Body Snatchers (1978). From wiki: “Invasion of the Body Snatchers is a 1978 American science-fiction horror film[1] directed by Philip Kaufman, and starring Donald Sutherland, Brooke Adams, Veronica Cartwright, Jeff Goldblum, and Leonard Nimoy. Released on December 22, 1978, it is based on the 1955 novel The Body Snatchers by Jack Finney. The novel was previously adapted into the 1956 film of the same name. The plot involves a San Francisco health inspector and his colleague who over the course of a few days discover that humans are being replaced by alien duplicates; each is a perfect biological clone of the person replaced, but devoid of empathy and humanity.”But also: House of Mortal Sin, Night Watch, The Amityville Horror, House of Psychotic Women, Identikit, MASH, Pauline Kael, sequels, The Eyes of Laura Mars, Suspiria, and more!NEXT WEEK: The Uninvited (1944)  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/ 

Before writer-director Philip Kaufman brought Tom Wolfe's best-selling book to the big screen in 1983, astronauts in movies were often just alien hunters or asteroid chasers. But under Kaufman's direction, spaceflight became a deeply human endeavor, focusing on inner strength rather than external threats. This 80s flick, which runs for over three hours and features an unconventional structure, tells the story of test pilots like Chuck Yeager and Gordon Cooper as they break the sound barrier and America ventures into the “Space Race” with Russia. Kaufman himself described it as “the longest movie ever made without a plot.” So get ready to take flight and orbit Earth as Tim Williams and guest co-hosts Jeff Atkins, Ben Carpenter, and Darby Mirocha discuss “The Right Stuff” from 1983 on this episode of the 80s Flick Flashback Podcast. Here are some additional behind-the-scenes trivia we were unable to cover on this episode: Some were concerned that when this film was released it would help propel John Glenn, then a U.S. Senator from Ohio, into the Presidency. Newsweek Magazine had a cover story about it. Although Glenn ran for President in 1984, he lost the Democratic nomination to Walter Mondale. Sources: Wikipedia, IMDB, Rotten Tomatoes, Box Office Mojo https://www.wired.com/2014/11/oral-history-of-right-stuff/ We'd love to hear your thoughts on our podcast! You can share your feedback with us via email or social media. Your opinions are incredibly valuable to us, and we'd be so grateful to know what you enjoyed about our show. If we missed anything or if you have any suggestions for 80s movies, we'd love to hear them too! If you're feeling extra supportive, you can even become a subscription member through "Buy Me A Coffee". For more details and other fun extensions of our podcast, check out this link. Thank you for your support! https://linktr.ee/80sFlickFlashback

Cinnabar by Estée Lauder (1978) + Rising Sun by Michael Crichton (1992) + Philip Kaufman's Rising Sun (1993) + Michael Cimino's Year of the Dragon (1985) + Ridley Scott's Black Rain (1989) with Glen and Psi of Rare Candy  6/26/24 S6E42 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon.

Gay homosexuals Nick and Joseph discuss ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Invasion of the Body Snatchers - a 1978 American science-fiction horror film directed by Philip Kaufman, starring Donald Sutherland, Brooke Adams, Veronica Cartwright, Jeff Goldblum, and Leonard Nimoy. Additional topics include: -John Waters: Pope of Trash exhibit -Justin Timberlake's DWI -Daily Burn's Juneteenth celebration -The deaths of Willie Mays, Anouk Aimee, and Donald Sutherland Join us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ 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

When strange seeds drift to Earth from space, mysterious pods begin to grow and invade San Francisco, replicating the cities residents one body at a time. On this week's episode… Join the crew as we discuss pod people, Donald Sutherland, and Philip Kaufman's science fiction classic, Invasion of the Body Snatchers (1978).   Show Notes: Housekeeping (2:45) Back of the Box/Recommendations (11:39) Spoiler Warning/Full Review (18:18) Rotten Tomatoes (69:49) Trivia (78:14) Cooter of the Week (85:47) Hotline Scream: (92:41)   Connect with us: Support us on Patreon Website Facebook Instagram Twitter YouTube Shop

It's difficult to imagine Jeff Goldblum anywhere but center stage—and no one is more aware of this than the actor himself, who has always had a clear sense of artistic purpose. With almost no plan of action, a teenage Goldblum took to New York City, and through the 1970s appeared in films directed by the likes of Robert Altman and Philip Kaufman. Later hits in what has become a five decade career came in The Big Chill, The Fly, and Jurassic Park—not to mention his four collaborations with Wes Anderson. On this week's episode of Table for Two, Goldblum joins host and AIR MAIL contributor Bruce Bozzi to further discuss his early years as an up-and-coming performer, as well as his longtime love of jazz piano and the joys of raising his two children, Charlie and River, alongside his wife Emilie Livingston.See omnystudio.com/listener for privacy information.

This week, the boys get busy with mini reviews of ‘Civil War' and ‘Monkey Man', John talks about running into a stressed-out Dev Patel editing his directorial debut, Jeff gripes about hemorrhoids and retail pharmacies, Dave gripes about April Fools Day and ‘Dogma', before they discussed ‘Paris Texas'! Before our featured conversation about the Palme d'Or winning Wim Wenders film, we set the scene on how much amazing stuff was happening in movies in 1984. Why is Preparation H's packaging so bright- yellow and blue? Grab a beer and settle in for this fun convo with three guys who love loving movies!  
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro; 11:24 Mini-Reviews of ‘Monkey Man' and ‘Civil War'; 20:34 Gripes; 25:22 Films of 1984; 43:20 ‘Paris Texas'; 1:20:15 What You Been Watching?; 01:25:17 Next Week's Episode Teaser Additional Cast/Crew/Mentions: Don Spiegel, Kevin McCarthy, Dana Wynter, Larry Gates, King Donovan, Carolyn Jones, Jean Willes, Ralph Dumke, Virginia Christine, Tom Fadden, Donald Sutherland, Ellsworth Fredericks, Carmen Dragon, Philip Kaufman, Jeff Goldblum, Brooke Adams, Daniel Craig, Nicole Kidman, Abel Ferrara, Oliver Hirschbiegel. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Preparation H, Hemmoroids, Harr yDean Stanton, CVS, Duane Reade, Walgreens, Road Rash, The Lion King, Pivot, Ross, Friends, Couch, NASA, Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, The Weekend, Clifford Odets, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.   

Do you remember Invasion of the Body Snatchers from 1978? This is one of many versions but we think this might be the best. Even though 70s movies are grittier and can be known to be very bleak, we still remember this movie being very good. Now it has been a very long time since we've seen this film but It's directed by Philip Kaufman and stars 70s talent like Donald Southerland, Brooke Adams, Veronica Cartwright, the always eccentric and awesome Jeff Goldblum, and of course Spock from Star Trek. Beam us up.Do You Remember Liking This Movie?

This week, the boys are joined by Matt of our brother pod, The Matt & Mark Movie Show, to drink and talk movies! After we gripe about restaurants and food prices, we set up the 1956 film year, which was a monster year for movies (Giant, The Searchers, The Ten Commandments, Forbidden Planet, to name a few). We then get into our featured conversation about the OG ‘Invasion of the Body Snatchers' and how it inspired sequels, other franchises, and much more. 
Our phone number is 646-484-9298, it accepts texts or voice messages.  0:00 Intro; 8:07 Gripes; ‘'Invasion of the Body Snatchers': 20:37 Films of 1956; 1:18:34 What You Been Watching?; 01:28:31 Next Week's Episode Teaser Additional Cast/Crew/Mentions: Don Spiegel, Kevin McCarthy, Dana Wynter, Larry Gates, King Donovan, Carolyn Jones, Jean Willes, Ralph Dumke, Virginia Christine, Tom Fadden, Donald Sutherland, Ellsworth Fredericks, Carmen Dragon, Philip Kaufman, Jeff Goldblum, Brooke Adams, Daniel Craig, Nicole Kidman, Abel Ferrara, Oliver Hirschbiegel. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Additional Tags: Road Rash, The Lion King, Pivot, Ross, Friends, Couch, NASA, Killers of the Flower Moon, Leonardo DiCaprio, Robert DeNiro, Martin Scorcese, Lily Gladstone, Jesse Plemmons, David Ellison, David Zazlav, Al Jolson, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, The Crown: Season 6 part 2, Napoleon, Ferrari, Beer, Scotch, The Weekend, Clifford Odets, Travis Scott, U2, Apple, Apple Podcasts, 101 Dalmatians, The Parent Trap, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir.   

Welcome Back! Sean and Claude took a little Spring Break and we hope you were able to do the same. For our 70th episode, we take a peek at two films that involve couples dealing with life on the other side of the Iron Curtain. Part One features The Unbearable Lightness of Being, directed by Philip Kaufman and starring Daniel Day-Lewis, Juliette Binoche and Lena Olin. In this film we have a couple who find themselves going from the Prague Spring to the Soviet invasion of Czechoslovakia and the events afterward. How they deal with life, love and the things that are thrown their way, you'll find quite touching. In Part Two, we'll look at a rather star-crossed couple that finds itself on opposite sides of many different lines, in 2018's Cold War. --- Support this podcast: https://podcasters.spotify.com/pod/show/wordsandmovies/support

pWotD Episode 2523: Louis Gossett Jr. Welcome to popular Wiki of the Day where we read the summary of a popular Wikipedia page every day.With 441,029 views on Friday, 29 March 2024 our article of the day is Louis Gossett Jr..Louis Cameron Gossett Jr. (May 27, 1936 – March 29, 2024) was an American actor. Born in Coney Island, Brooklyn, New York City, he made his stage debut at the age of 17. Shortly thereafter, he successfully auditioned for the Broadway play Take a Giant Step. Gossett continued acting onstage in critically acclaimed plays including A Raisin in the Sun (1959), The Blacks (1961), Tambourines to Glory (1963), and The Zulu and the Zayda (1965). In 1977, Gossett appeared in the popular miniseries Roots, for which he won Outstanding Lead Actor for a Single Appearance in a Drama or Comedy Series at the Emmy Awards.Gossett continued acting in high-profile films, television, plays, and video games. In 1982, for his role as Gunnery Sergeant Emil Foley in An Officer and a Gentleman, he won the Academy Award for Best Supporting Actor and became the first black actor to win in this category. At the Emmy Awards, Gossett continued to receive recognition, with nominations for The Sentry Collection Presents Ben Vereen: His Roots (1978), Palmerstown, U. S. A. (1981), Sadat (1983). Gossett appeared in 1985's Enemy Mine with Dennis Quaid, A Gathering of Old Men (1987), Touched by an Angel (1997), and Watchmen (2019). He won and was nominated at other ceremonies including the Golden Globe Awards, Black Reel Awards, and NAACP Image Awards. Gossett was also well-known for his role as Colonel Chappy Sinclair in the Iron Eagle film series (1986-1995).Gossett's other film appearances include Hal Ashby's The Landlord (1970), Paul Bogart's Skin Game (1971), George Cukor's Travels with My Aunt (1972), Stuart Rosenberg's The Laughing Policeman (1974), Philip Kaufman's The White Dawn (1974), Peter Yates's The Deep (1977), Wolfgang Petersen's Enemy Mine (1985), Christopher Cain's The Principal (1987), Mark Goldblatt's The Punisher (1989), Daniel Petrie's Toy Soldiers (1991), and Jasper, Texas (2003), and his television appearances include Bonanza (1971), The Jeffersons (1975), American Playhouse (1990), Stargate SG-1 (2005), Left Behind: World at War (2005), Boardwalk Empire (2013), and The Book of Negroes (2015).This recording reflects the Wikipedia text as of 01:19 UTC on Saturday, 30 March 2024.For the full current version of the article, see Louis Gossett Jr. on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Matthew Neural.

Our guest is a five-time Oscar nominee for Best Costumes—most recently for Killers of the Flower Moon, although she is equally lauded for her work on Dune, parts 1 and 2. Her background in the fashion world, and as an art history major, gives her unique credentials for someone who provides costumes for movies. She also has world-class stories to share about her collaborations with such major directors as Philip Kaufman, Terence Malick, and David Fincher. Leonard and Jessie had a blast mining that treasure chest of memories and observations. The making of The Revenant could fill a one-hour podcast all by itself!  

Today on the show we have legendary actor Lance Henriksen. I had the pleasure of work with Lance on my film Red Princess Blues: Genesis and if was a surreal experience.Lance has been in over 300 films through-out his remarkable career.He's mentored Tarzan, Evel Knievel and the Antichrist, and fought Terminators, Aliens, Predators, Pumpkinhead, Pinhead, Bigfoot, Superman, the Autobots, Mr. T, Jean-Claude Van Damme and Steven Seagal.He's worked with directors James Cameron, Steven Spielberg, Kathryn Bigelow, Sidney Lumet, Francois Truffaut, John Huston, Walter Hill, David Fincher, John Woo, Jim Jarmusch and Sam Raimi, but this is just skimming the surface.An intense, versatile actor as adept at playing clean-cut FBI agents as he is psychotic motorcycle-gang leaders, who can go from portraying soulless, murderous vampires to burned-out, world-weary homicide detectives, Lance Henriksen has starred in a variety of films that have allowed him to stretch his talents just about as far as an actor could possibly hope.He played Awful Knoffel in the TNT original movie EVIL KNIEVEL, directed by John Badham and executive produced by Mel Gibson. Henriksen portrayed Awful Knoffel in this project based on the life of the famed daredevil, played by George Eads. Henriksen starred for three seasons (1996-1999) on Millennium, Fox-TV's critically acclaimed series created by Chris Carter (The X-Files).His performance as Frank Black, a retired FBI agent who has the ability to get inside the minds of killers, landed him three consecutive Golden Globe nominations for "Best Performance by a Lead Actor in a Drama Series" and a People's Choice Award nomination for "Favorite New TV Male Star."Henriksen was born in New York City.His mother, Margueritte, was a waitress, dance instructor, and model. His father, James Marin Henriksen, who was from Tønsberg, Norway, was a boxer and merchant sailor.Henriksen studied at the Actors Studio and began his career off-Broadway in Eugene O'Neill's Three Plays of the Sea. One of his first film appearances was as an FBI agent in Sidney Lumet's DOG DAY AFTERNOON, followed by parts in Lumet's NETWORK and PRINCE OF THE CITY.He then appeared in Steven Spielberg's CLOSE ENCOUNTERS OF THE THIRD KIND with Richard Dreyfuss and François Truffaut, DAMIEN: OMEN II and in Philip Kaufman's THE RIGHT STUFF, in which he played Mercury astronaut Capt. Wally Schirra.James Cameron cast Henriksen in his first directorial effort, PIRANHA II: THE SPAWNING, then used him again in THE TERMINATOR and as the android Bishop in the sci-fi classic ALIENS. Sam Raimi cast Henriksen as an outrageously garbed gunfighter in his quirky western THE QUICK AND THE DEAD. Henriksen has also appeared in what has developed into a cult classic: Kathryn Bigelow's NEAR DARK, in which he plays the head of a clan of murderous redneck vampires. He was nominated for a Golden Satellite Award for his portrayal of Abraham Lincoln in the TNT original film THE DAY LINCOLN WAS SHOT.In addition to his abilities as an actor, Henriksen is an accomplished painter and potter. His talent as a ceramist has enabled him to create some of the most unusual ceramic artworks available on the art market today.His new film is called Alpha Rift.Nolan Parthmore was just a regular guy, hanging with friends, working his game store, flirting with his co-worker, then one day, destiny came calling. A courier delivers a mysterious antique helmet with no note or description. When Nolan puts it on, his whole world changes. The helmet comes to life and calls out to an evil demon, Lord Dragsmere, who was imprisoned by Nolan's deceased father. Nolan soon discovers he is next in the bloodline, heir to The Nobleman, destined to become a hero whether he wants to be or not. Since the Dark Ages, the Noblemen have been guardians against the 13 Devil's Apostles: dark forces escaped from hell and let loose upon on earth. Generations later, it's the heirs of these original knights that possess the power to open the Alpha Rift:the only defense against these supernatural foes.Enjoy my conversation with Lance Henriksen.

     This week- two movies about men given a second chance to relive their dreams.     When a professional football players strike happens with only four games left in the regular season, the Washington Sentinels call in maverick coach, Jimmy McGinty, and give him free reign to assemble a motley crew of might have-beens and never-weres. Leading the pack is former college All-American, Shane Falco, who lives on a boat that just happens to be floating in the, at the time not yet gentrified, National Harbor. A cult comedy classic with a cast that is more than equal the task, The Replacements.     Jessica Shepard is a hard drinking, tough as nails inspector for SFPD's homicide division with a tragic backstory. When the body of someone she had a one night stand with is found along the shore, it's curious but not enough for another investigator to take over. By the time the third is found its downright troubling. A heavily James Patterson-inspired women in trouble thriller, a staple genre of the 1990s and early 2000s, and one of the most commercial works from director Philip Kaufman, Twisted.     All that and Dave does nothing alone in his cardboard box, Tyler realizes that he's run out of canvas below the neck, and Kevin likes to watch from a tree. Join us, won't you?   Episode 348- Pour Some Sugarbowl on Me

MONSTER SQUAD - L'émission qui dissèque les icônes de l'horreurDans ce premier épisode de 2024, Marie Casabonne et ses deux invités, Véro Davidson (scénariste, sélectionneuse de courts-métrage pour le PIFFF et présentatrice du PIFFFcast en son temps) et Rafik Djoumi (Capture Mag, Total Trax, Arrêt sur images…) s'attaquent non pas à une franchise mais à un monstre : le body snatcher. Un monstre extra-terrestre à visage humain, trop humain qui traverse la littérature et le cinéma, du roman L'Invasion des profanateurs de Jack Finney (1955) jusqu'à ses différentes itérations au cinéma (par Don Siegel en 1956, Philip Kaufman en 1978, Abel Ferrara en 1993 et Oliver Hirschbiegel en 2007). Une adaptation officielle tous les 20 ans (ou presque) qui trouve un nouvel écho et reflète les craintes de chaque époque tout en tentant de définir par la négative et l'absence, la nature humaine.Présentation : Marie CasabonneRédacteur en chef : Stéphane MoïssakisChroniqueur : Véro Davidson et Rafik DjoumiRéalisation : Alain MercierProduction : Stéphane Moïssakis et Alain MercierMontage et mixage : Anthony NavarroMusiques : Magic And Ecstasy et Rite Of Magic par Ennio MorriconeRetrouvez toutes nos émissions sur http://www.capturemag.frNotre prochain mook consacré au regretté William Friedkin sera en précommande à partir du 5 février :https://www.kisskissbankbank.com/fr/projects/capturemag-01-williamfriedkinPour soutenir MONSTER SQUAD, il y a trois adresses :PATREON : https://www.patreon.com/capturemagKISS KISS BANK BANK : https://www.kisskissbankbank.com/fr/projects/capturemagTIPEEE : https://www.tipeee.com/capture-magVous pouvez acheter le livre "Slashers, Attention, ça va couper..." co-écrit par Marie Casabonne en suivant ce lien : https://bit.ly/3toedfrPour acheter notre livre CAPTURE MAG 2012-2022 : NOTRE DÉCENNIE DE CINÉMA, rendez-vous chez votre libraire ou site marchand.Akileos : https://bit.ly/CapMookLibrairies indépendantes : https://bit.ly/AchTMookDisponible surAcast : https://bit.ly/3eJ0kjlSPOTIFY : https://spoti.fi/3caW88GDEEZER : https://bit.ly/2wtDauUAPPLE podcasts : https://apple.co/2UW3AyOGOOGLE Podcasts : https://bit.ly/39W69oRYOUTUBE : https://bit.ly/3EvKPqv#bodysnatchers #donaldsutherland #invasion Podcasts exclusifs Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

This week on S&A Lindsay is joined by The Shelf Shedding Movie Show Jason Dubray. As they try to fight the system in a Double of Deborah Kaplan & Harry Elfont's Josie and the Pussy Cats (2001) & Philip Kaufman's Invasion of the Body Snatchers (1978) This is a Double that looks at how different decades deal with sociality manipulation. Orange is the new Pink! Listen to Schlock & Awe on your favourite Podcast App

Title(s): Raiders of the Lost Ark (theatrical), Indiana Jones and the Raiders of the Lost Ark (retroactive) [Wikipedia] [IMDb] Director: Steven Spielberg Producer: Frank Marshall Writers: Lawrence Kasdan (screenplay), George Lucas, Philip Kaufman (story) Stars: Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, Denholm Elliott Release date: June 12, 1981 PROMO: Anime Talk (@AnimeTalk12) SHOWNOTES: Grab your bullwhip and fedora, because Collateral Cinema is covering one of, if not the best action-adventure movie series of all time: the Indiana Jones Trilogy! That's right: the trilogy. That's it. Three films. No others have ever been made and you won't convince us otherwise. Follow us for this special two-part episode; in Part 1, we'll be covering the very first installment: Raiders of the Lost Ark! Considered among the greatest movies ever made, this 1981 flick was directed by Steven Spielberg; co-written by Lawrence Kasdan, George Lucas, and Philip Kaufman; and stars Harrison Ford in his debut as the immortal character Indiana Jones—arguably his best role. Raiders isn't just a damn good film that stands the test of time, but a keystone of movie sub-culture, containing many of the most iconic scenes in cinema, and being the start of a celebrated American media franchise. Stay tuned for Part 2, where we'll be covering Temple of Doom and Last Crusade! Collateral Cinema is on Facebook, Instagram, and Twitter, and is on Podbean, Spotify, Apple Podcasts, Google Podcasts, YouTube, iHeartRadio, Chill Lover Radio, and wherever else you get your podcasts! Collateral Media presents Robert Ortegon's Texas Sundown, a 2024 indie short film made by and starring the crew of Collateral Cinema, available now on YouTube: youtu.be/trpnh2fYkaY Collateral Cinema is a Podbean affiliate. Sign up for unlimited podcasting hosting at the following link, and get one month of hosting free: podbean.com/CCinemaPodcast (Collateral Cinema is a Collateral Media Podcast. Intro song is a license-free beat. All music and movie clips are owned by their respective creators and are used for educational purposes only. Please don't sue us; we're poor!)

This week Justin and I tackle Philip Kaufman's 1978 film INVASION OF THE BODY SNATCHERS. We discuss the strengths and weaknesses of the film - but we absolutely agree that there was a lot to be desired in the reviews by Gene and Roger. Check out the episode to hear our thoughts! Be sure to like, subscribe and review our show on YOUTUBE and your favorite pod platform.Visit thecultworthy.comVisit https://www.themoviewire.comVideo: https://www.youtube.com/@back2thebalcony

The Halloweenies answer the call from the San Francisco Health Department, where they are to study Philip Kaufman's Invasion of the Body Snatchers for its 45th anniversary. Together, they discuss the history of the Invasion story, Kaufman's docustyle eye, the film's commentary on '70s counterculture and consumerism, and all the chaos within every frame of this 1978 gem. Note: This installment of The Rental is from our Patreon and was recorded in January 2023. Follow us on Facebook | Twitter | Instagram | Patreon Learn more about your ad choices. Visit megaphone.fm/adchoices

The pod is taking a slight temporal detour this week and covering The Right Stuff - a film that began its development during New Hollywood and was finished and released in the wake of the Heaven's Gate debacle. Sam and Alana pontificate about whether or not this ambitious space epic retains the artistic spirit of the 70s or if it can't quite achieve liftoff beyond merely ‘fun movie about the early days of the Space Race'. Topics include: the film's digressive structure, Philip Kaufman's Pavlovian response to popcorn, and the charms of Dennis Quaid.

"They're all pods, all of them!" For Episode 291, Brandon and Thomas cover Philip Kaufman's remake of INVASION OF THE BODY SNATCHERS. Listen as they discuss Kaufman's early career, the film's casting process, and how they mastered some of the film's memorable special effects. Opening Banter (00:00:10) Recap to Social Horror (00:09:54) Intro to Invasion of the Body Snatchers (00:11:45) How Invasion of the Body Snatchers Got to Production (00:20:16) Favorite Scenes (00:37:25) On Set Life - (01:01:28) Aftermath: Release and Legacy (01:10:26) What Worked and What Didn't (01:15:53) Film Facts (01:20:01) Awards (01:21:08) Final Questions (01:28:28) Final Questions for the Social Horror Genre (01:39:19) Preview for Next Week (01:50:15) Get your tickets for our upcoming screening of CHILDREN OF MEN at the Nuart Theatre on November 10th: https://bit.ly/3Q2j9QL Join our Patreon for More Content: https://www.patreon.com/cinenation Contact Us: Facebook: @cinenation Instagram: @cinenationpodcast Twitter: @CineNationPod TikTok: @cinenation Letterboxd: CineNation Podcast E-mail: cinenationpodcast@gmail.com

In this episode Mike gets off on elder abuse, Troy relives childhood bearded banjo dog trauma as they both electric slide into the 70's to review Invasion of the Body Snatchers (1978).

HALLOWEEN HUMPFEST will end up being discussions of 27 different movies when it's all said and done. Frankly, we're already tired and we're gonna lie down and go to sleep. Let the little fibers of the special plant touch our skin. We will dry up into husks and come back good and wet as fresh pod people. Ready to continue the show in a much more dead-eyed fashion. We pick Podworld. Remember when people got sad that they couldn't live in Avatar world? Well, we're like that but with Podworld. Get into Podworld, man. We're talking about Philip Kaufman's excellent remake of a horror classic from 1978, “Invasion of the Body Snatchers” starring Donny Sutherland, Brooke Adams, Lenny Nimoy and Jeffy Goldblum. Subscribe to our Youtube: https://www.youtube.com/channel/UCuJf3lkRI-BLUTsLI_ehOsg Contact: MOVIEHUMPERS@gmail.com Our OG podcast “Documenteers”: https://podcasts.apple.com/us/podcast/documenteers-the-documentary-podcast/id1321652249 Soundcloud feed: https://soundcloud.com/documenteers Twitch: https://www.twitch.tv/moviehumpers

The Horror Double: Invasion of the Body Snatchers  This week Ibrahim & I look at a classic (a standard) of the Horror Genre - Invasion of the Body Snatchers (1956 & 1978) and Body Snatchers (1993). Based on the 1954 Jack Finney Sci-Fi Novel, directors Don Siegel, Philip Kaufman, and Abel Ferrara have taken drastically different approaches to this material. Each film is a classic in their own rights. Take a listen and see if you agree with out assessments. As always we'd love to hear your comments and contributions at gondoramos@yahoo.com. Many Thanks.  As always, we continue to look to you good and loyal listeners for support. If you have listened and enjoyed our bantering over these nearly eight years please feel free to support us with a monetary contribution. We're not asking for a whole lot. Whatever you can give is appreciated. Follow the link below to contribute.  Our Continued Thanks. https://www.buymeacoffee.com/watchrickramos

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.

Episode 78: We go one fucking hour on the movie from 1978 that YOU voted for, Philip Kaufman's paranoid, dreadful and truly heartbreaking reimagining of INVASION OF THE BODY SNATCHERS, which is one of the great films of the late 70's. Sign up for the OFH Patreon and gain access to our exclusive feature-length audio commentary tracks: ⁠https://www.patreon.com/onefuckinghour⁠ Follow us on – Instagram: ⁠https://www.instagram.com/onefuckinghour/⁠ Twitter: ⁠https://twitter.com/1fuckinghour⁠

We're baaaack! We're relaunching Pop That! Podcast with a new logo and a fresh attitude, so buckle up, listeners.  For our first episode back, Aaron Haughton joins the show from Viddy Well Film Blog. That's right, it's our seasonal tradition: Slasher Summer. This year, we're breaking down the best horror remakes of all time, starting with Philip Kaufman's 1978 version of Invasion of the Body Snatchers.   Kaufman's late 70s remake of 1956's Body Snatchers is a meditation on post-war paranoia that manages to scare up one helluva punch in terms of story and characters, resonating even by modern standards. How do we survive the inevitability of change, when adaption means losing who we are? It's time to Pop That on 1978's Invasion of the Body Snatchers.

Tom Skerritt, Emmy winner (Outstanding Lead Actor in a Drama Series) for his series PICKET FENCES, is one of the most versatile and acclaimed American actors in movies and TV. At UCLA Film School, he acted in theatre and began writing for screen as a means to understand the full embrace of his primary interest, directing film. While acting on stage, he was seen and hired to be in a small film where he met Robert Redford and Sydney Pollack. Soon after, he met director Robert Altman, with whom he mentored as a filmmaker, which led Tom to be cast in the movie version of M*A*S*H. This led to a distinguished and decades-long career, starring in such acclaimed films as TURNING POINT (for which Tom won the National Board of Review's Best Supporting Actor Award), ALIEN, TOP GUN, STEEL MAGNOLAS, A RIVER RUNS THROUGH IT, CONTACT, TEARS OF THE SUN and THE DEAD ZONE. The recipient of UCLA's Lifetime Achievement Honor in 1994, Tom is also a veteran of may television programs, including appearances on MADAM SECRETARY, THE WEST WING, LAW & ORDER: SPECIAL VICTIMS UNIT, CHEERS, WILL & GRACE and THE GOOD WIFE.  In 2007, Tom received a Life Achievement Award from Wayne State University, which was followed with a Laureate Award from The Rainier Club in Seattle. In 2011, he received the Saturn Best Guest Actor Award - TV.Legendary film actress Veronica Cartwright began her career as a child actress in the classic films THE CHILDREN'S HOUR (directed by William Wyler), Alfred Hitchcock's THE BIRDS and SPENCER'S MOUNTAIN. A veteran of many beloved films, Veronica has appeared in over 50 movies and her resume includes two science fiction classics in the 1970's, Philip Kaufman's remake of INVASION OF THE BODY SNATCHERS and Ridley Scott's masterpiece thriller, ALIEN. Veronica starred as Betty Grissom in the epic dramatization of NASA's space program based on Tom Wolfe's novel, THE RIGHT STUFF, also directed by Kaufman. She made an indelible impression on moviegoers in 1987 with her standout performance in THE WITCHES OF EASTWICK. Among Veronica's many television credits are the hit shows CRIMINAL MINDS, CSI CYBER, BOSCH, RESURRECTION, GREY'S ANATOMY, WILL & GRACE, LEAVE IT TO BEAVER, THE TWILIGHT ZONE, GOTHAM KNIGHTS, ALFRED HITCHCOCK PRESENTS, THE GOOD DOCTOR and THE X FILES. Veronica has been nominated four times for an Emmy Award with one win. At age 15 she won an Emmy for Best Actress in a television movie called TELL ME NOT IN MOURNFUL NUMBERS. She was nominated again in 1997 for her guest starring role of Mrs. Huston in two widely acclaimed episodes of ER. In 1998 and 1999 the Television Academy nominated her twice for her pivotal role of Cassandra Spender on Fox's THE X FILES.

Invitée : Béatrice Hainaut, chercheuse espace à l'IRSEM

Access this entire 84 minute episode (and additional monthly bonus episodes) by becoming a Junk Filter patron! Over 30% of episodes are exclusively available to patrons of the show. https://www.patreon.com/posts/132-rising-sun-84172029 I'm joined by Aden Jordan, a grant writer based in Southern California and patron of the podcast, to discuss Philip Kaufman's 1993 deeply strange and lurid murder mystery Rising Sun, based on the bestseller by Michael Crichton, starring Sean Connery and Wesley Snipes as special agents brought in to investigate the murder of a sex worker at a Japanese corporation based in Los Angeles on the eve of its acquisition of an American microchip firm. Although based on a novel that also served as Crichton's jeremiad about the danger to the United States posed by Japan's dominance over the world economy and American real estate, Kaufman complicated matters (and alienated Crichton from the project) by pushing against the source material's agenda, most notably by casting a black movie star as the protagonist and giving the most racist dialogue to the most unpleasant characters (with an uncredited script polish by David Mamet). But Kaufman makes his own mistakes in terms of tempering the film's racial politics. Rising Sun is a complex text that still speaks to contemporary concerns: its depiction of the surveillance state, American Anti-Asian paranoia in the culture, and manipulation of the truth through digital trickery. But it's also a very bizarre exercise in style, an Ambient Noir where vibes and postmodern touches clash against the plot and intentions of the source material and perhaps indicate the director's true feelings for the project. Coming soon to the podcast: a sidebar series throughout the summer on NBC's Miami Vice. Trailer for Rising Sun (Philip Kaufman, 1993) Jonathan Rosenbaum's review of Rising Sun for the Chicago Reader, August 13, 1993

This week the boys begin their Summer Blockbuster Face-Off, the challenge to determine once and for all what the greatest summer blockbuster of all time! We take the highest grossing *summer* movie of every year from 1980-2019 (plus Jaws and Star Wars), and we have them battle to the death until only one remains! Our first episode is a doozy: Empire vs. Raiders, E.T. vs. Jedi. Damn! Only two can advance. Please like and subscribe to keep up with our bracket!  Find all of our Socials at: https://linktr.ee/theloveofcinema.
Our phone number is 646-484-9298, it accepts texts or voice messages. 0:00 Intro & Gripes;  7:38 Weekly Recap;  16:37 Empire vs Raiders;  54:00 Jedi Vs ET Cast/Crew: Steven Spielberg, George Lucas, Harrison Ford, Mark Hamill, Carrie Fischer, Billy Dee Williams, Irvin Kershner, Leigh Brackets, Lawrence Kasdan, ILM, Henry Thomas, Drew Barrymore, Melissa Mathison, Sean Frye, Karen Allen, Pail Freeman, John Rhys-Davies, Ronald Lacey, Denholm Elliott, Alfred Molina, Philip Kaufman.  Additional Tags: Australia, Melbourne, Queensland, The Philippines, Writer's Strike, WGA, Adelaide, Spotify, residuals,  Apple+, Apple TV, Netflix, Amazon Prime, TikTok, Twitch, Concord, NC, New Jersey, Method Acting, Jeremy Strong, Brando, Pacino, Dustin Hoffman, Summer Movies, Star Wars, E.T., Jaws, Raiders of the Lost Ark, Return of the Jedi, The Empire Strikes Back. 

Here's a preview of our all-new Patreon exclusive episode that finds the Halloweenies dissecting Philip Kaufman's Invasion of the Body Snatchers. Want more? Head on over to www.patreon.com/halloweeniespod and become a Patron for more exclusive bonus content!Follow us on Facebook | Twitter | Instagram | Patreon Hosted on Acast. See acast.com/privacy for more information.

The function of life is survival. Join Reneé, John Paul, and Travis as they discuss Philip Kaufman's 1978 science-fiction horror classic "Invasion of the Body Snatchers."   Please consider supporting the show on Patreon: https://www.patreon.com/thepodmortem    Where to listen to the podcast and follow us on social media: https://allmylinks.com/thepodmortem   Follow us on Twitter: https://twitter.com/thepodmortem https://twitter.com/bloodandsmoke https://twitter.com/realstreeter84 https://twitter.com/travismwh   What would you rate Invasion of the Body Snatchers and what should we watch next? Email us at thepodmortem@gmail.com    "Pod Mortem Theme" written and performed by Travis Hunter. https://youtube.com/travismwh