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July 21-27, 1990 This week Ken welcomes film producer and host of the Hollywood Gold podcast, Daniela Taplin Lundberg. Ken and Daniela discuss growing up in show business with an actress mother and producer father, producing Mean Streets, La Bamba, hating Coach, Murphy Brown, Action Jackson, the teen TV stars of the 80s and 90s, Hollywood poor, going to events for the food, Doogie Howser PI, the movie guide in the back of TV Guide, Premiere Magazine, Entertainment Weekly, Tom Hanks, Bosom Buddies, telling stories you think make you look good that don't actually make you look good, Different World, Wonder Years, Square Pegs, Northern Exposure, Beauty and the Beast, The Facts of Life, backdoor pilots, Ken's trivia weak points, TV Horror Hosts, NBC Pictures, target audiences, SNL's best cast, Life Goes On, Our House, Newhart, The Elliot comedy legacy (Bob, Chris, Abbey, Bridey), loving thirtysomething and Sisters, Battle of the Network Stars, Who's the Boss, Living Dolls, Mona, Charmed, Head of the Class, Hollywood it couples, Brad Pit, not connecting with Neil Patrick Harris, Silver Spoons, Jason Bateman, Ricky Schroeder being mean to you, Cosby, Grand, mid-season replacements, loving Bonnie Hunt, disliking Full House, being social on Friday Nights, Miami Vice, the beauty of Crime Story, before they were stars, the greatness of not binging shows, and My So-Called Life. 

EPISODE 53 - “Tribute to Gena Rowlands” - 09/16/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** When screen legend GENA ROWLANDS passed away last month at the age of 94, she left behind a film and TV legacy that will undoubtedly influence artists for decades to come. She was an acting titan who changed the way modern audiences looked at acting. From her historic independent movies with husband JOHN CASSAVETES to mainstream Hollywood to powerful performances in iconic television films, Rowlands' performances were always honest, complicated, and emotionally raw. There was just no one like her; and there never will be again. This week, we pay tribute to her endearing legacy on and off the screen. SHOW NOTES:  Sources: Cassavetes on Cassavetes (2001), by Ray Carney; In The Moment: My Life As An Actor (2004), by Ben Gazzara; “Family First, Says Pretty Blonde,” November 16, 1963, The Tribune (South Bend, IN); “I Want It All…Husband…Children…Career!” June 1975, by Ronald Bowers, Photoplay; “NBC Offers Drama About AIDS,” November 11, 1985, by John J. O'Connor, The New York Times; “To Mom With Love: Gena Rowlands' Son Directs Her Latest Film,” February 23, 1997, by Terry Lawson, Detroit Free Press; “Idol Chatter: Gena Rowlands,” 1999, by Al Weisel, Premiere Magazine; “Shop Talk: Actress Gena Rowlands, Not Much of a Shopper, Tells Tales,” February 15, 2002, by Gwen Davis, The Wall Street Journal; “Gena Rowlands On Pioneering The Indie Film Movement With Her Late Husband John Cassavetes,” November 13, 2015, by Scott Feinberg, The Hollywood Reporter; “Oscar Goes To Gena Rowlands,” November 14, 2015, by Susan King, Los Angeles Times; “And The Honorary Oscar Goes To…” November 20, 2015, by Scott Feinberg, The Hollywood Reporter; “The Notebook's Gena Rowlands Has Alzheimer's, Is in Full Dementia,” June 25, 2024, by Cara Lynn Shultz, People Magazine; “Gena Rowlands, Actress Who Brought Raw Drama To Her Roles, Dies at 94,” August 14, 2024, by Anita Gates, New York Times; TCM.com; IBDB.com; Movies Mentioned:  The High Cost of Loving (1958), starring Jose Ferrer; Lonely Are the Brave (1962), starring Kirk Douglas; The Spiral Road (1962), starring Rock Hudson; A Child is Waiting (1963), starring Burt Lancaster, Judy Garland; Tony Rome (1967), starring Frank Sinatra; Faces (1968), starring John Cassavetes; Minnie and Moskowitz (1971), starring Seymour Cassel; A Woman Under the Influence (1974), starring Peter Falk; Opening Night (1977), starring John Cassavetes, Ben Gazzara; A Question of Love (1978), starring Jane Alexander; The Brink's Job (1978), starring Peter Falk; Gloria (1980), starring John Adams; Tempest (1982), starring John Cassavetes; Love Streams (1984), starring John Cassavetes; Thursday's Child (1984), starring Don Murray; An Early Frost (1985), starring Aidan Quinn, Ben Gazzara; The Betty Ford Story (1987), starring Josef Sommer; Another Woman (1988), starring Mia Farrow; Once Around (1991), starring Richard Dreyfuss, Holly Hunter; Night On Earth (1991), starring Winona Ryder; Face of A Stranger (1992), starring Tyne Daly; Crazy In Love (1992), starring Holly Hunter; The Neon Bible (1995), starring Jacob Tierney; Unhook The Stars (1996), starring Marisa Tomei; She's So Lovely (1997), starring Sean Penn; Hope Floats (1998), starring Sandra Bullock; Hysterical Blindness (2003), starring Uma Thurman; The Notebook (1999), starring Ryan Gosling, Rachel McAdams; Broken English (2007), starring Parker Posey; Six Dance Lessons in Six Weeks (2014), starring Cheyenne Jackson; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1982 British filmmakerJames Scott had made an Academy Award winning adaptation of a Graham Greene novella. Adapting another Greene novella, this time as a feature length film, seemed like a natural progression of things. He had Greene's blessing to take his novella Loser Takes All and turn into a film that would feature stage star Robert Lindsay and Molly Ringwald. He had every element in place. Almost. The only thing left was getting American distribution. And that was found when a deal was struck with Miramax. All that James Scott had to do in order to get his modest British comedy made was deal with a producer named Harvey Weinstein, who had a lot of ideas on how this film should be made.LinksJames Scott's WebsiteSourcesRizov, Vadim. The Legend of Harvey Scissorhands. MTV.com, August 9, 2013.https://www.mtv.com/news/zs4qqu/harvey-weinstein-snowpiercer-cutsRingwald, Molly. All The Other Harvey Weinsteins. The New Yorker, October 17, 2017.https://www.newyorker.com/culture/cultural-comment/all-the-other-harveysRobert Lindsay: 'Monster' Weinstein blacklisted me. BBC.com, November 9, 2017.https://www.bbc.com/news/av/entertainment-arts-41927167Connelly, Christopher. The Heartbreak Kid. Premiere Magazine, July 1990. Hosted on Acast. See acast.com/privacy for more information.

Ricky and his shy, reserved cousin Angela are spending the summer at Camp Arawak, a bargain basement overnight camp in upstate New York run by Mel, cigar-chomping shyster, and staffed by a bunch of adult and teenage degenerates.  Angela is initially withdrawn, occasionally catatonic – but is soon brought out of her shell by Ricky's friend Paul, who takes a liking to Angela in the hopes he might be able to make it with her before summer's end.  But there are forces are at work – forces determined to put the strangely distant Angela in her place.  Bunkmate and camp harlot Judy sees Angela as a weirdo, then a threat when she attracts Paul's attention.  Counselor Meg, who can't get Angela to eat, play sports, or swim, constantly berates Angela for her failure to thrive.  That's when the murders begin, one at a time, first a staffer, then a camper, and on and on.  Mel tries to hide it due to the bad publicity, but as any good camp director knows, murder's bad for business, and the more we learn about Angela's murky past, the more things at Camp Arawak take a turn… for the deadly. Intro, Math Club, Debate Society, Hot for Teacher (spoiler-free): 00:00-26:29Honor Roll and Detention (spoiler-heavy): 26:30-1:02:16Superlatives (spoiler-heavier): 1:02:17-1:21:08 Director Richard HiltzikScreenplay Richard HiltzikFeaturing Christopher Collet, Paul DeAngelo, Desiree Gould, Karen Fields, Owen Hughes, Robert Earl Jones, Katherine Kamhi, Mike Kellin, Felissa Rose, Jonathan Tiersten Jack Sholder began his career as a film editor, working on the feature documentary King: From Montgomery to Memphis which was nominated for an Academy Award. He won an Emmy for his editing work on 3-2-1 Contact. After writing and directing several award-winning short films, Jack wrote Where Are The Children starring Jill Clayburgh for Ray Stark and Columbia. In 1982, Jack directed Alone In The Dark for New Line Cinema with Martin Landau, Jack Palance, and Donald Pleasence. He then directed A Nightmare On Elm Street II: Freddy's Revenge. His next feature, The Hidden, won many awards including the Grand Prix at the Avoriaz Film Festival, Jury Award at the Sitges Film Festival, and Best Director at Fantasporto. Premiere Magazine called it “one of the ten most underrated films of the 80s.” This was followed by Renegades with Kiefer Sutherland and Lou Diamond Phillips and By Dawn's Early Light for HBO with Martin Landau, James Earl Jones, Rip Torn, Rebecca de Mornay, and Powers Boothe. Jack has directed movies and television for MGM, Paramount, Universal, Warners, Fox, United Artists, Lionsgate, HBO, Showtime, NBC, Discovery, and others. He is the recipient of lifetime achievement awards from FantaFest and the Grossman Festival. In 2004, he founded the Film & Television Production program at Western Carolina University where he was Professor and Director of the FTP program until 2017.  Jack has received Life Achievement Awards from Fantafestival (Rome), Grossmann Film Festival (Slovenia), and Fantastic Fest (Austin). Our theme music is by Sir Cubworth, with embellishments by Edward Elgar.  Music from Sleepaway Camp by Edward Bilous. For more information on this film (including why the Professor chose it, on ⁠⁠⁠Our Blog⁠⁠⁠), the pod, essays from your hosts, and other assorted bric-a-brac, visit our website, ⁠⁠⁠⁠⁠⁠⁠⁠⁠scareupod.com⁠⁠⁠⁠⁠⁠⁠⁠⁠. Please subscribe to this podcast via Apple or Google Podcasts, Stitcher, Spotify, or wherever you get your podcasts. If you like what you hear, please leave us a 5-star rating. Join our ⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠ group. Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠.

The Boys highlight some of the things they're looking forward to for the end of the year

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988.   But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987.   I was wrong.   While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days.   Sorry for the misinformation.   1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win.   But before we get to those two movies, there's a whole bunch of others to talk about first.   Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there.   Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her.   Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k.   A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature.   In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it.   But that ad may have been a bit premature.   While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k.   March 18th saw the release of a truly unique film.    Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments.   That is Aria.   If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom.   Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive.   It's easy to see what might have attracted Harvey Weinstein to acquire the film.   Nudity.   And lots of it.   Including from a 21 year old Hurley, and a 22 year old Fonda.   Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City.   But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres.   As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it.   Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k.   There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k.   Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad?   Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen.   Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next?   Yep.   No reported grosses, no theatres playing the film tracked by Variety.   The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own.   On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street.   And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported.   Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States.   Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film.   The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated.   After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world.   Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week.   The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500.   There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it.   One week after Mio, Miramax would release a comedy called Going Undercover.   Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day.   So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies.   She hadn't.   This was a movie she had made just before Back to the Future, in August and September 1984.   Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen.   The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice.   Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area.   The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks.   Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor.   Or that was line of thinking.   Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film.   But that didn't make it any easier to sell his film.   The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors.   As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well.   The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles.   In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do.   The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made.   Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own.   Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982.   But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat.   One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder.   After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth.   After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.”   Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary.   Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note.   “Heard your NPR interview and you were boring.”   Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question.   It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out.   And it would get it.   The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review.   New York audiences were hooked.   Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before.   I went and saw it again.   Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film.   The film would also find itself in several more controversies.   Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the  Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed.   Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights.   Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.”   Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011.   Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry.   In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs.   The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director.   The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights.   Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines.   “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.”   That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area.   Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k.   In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away.   Miramax would finish 1988 with two releases.   The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter.   When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star.   The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star.    But that wouldn't happen.   Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns.   I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration.   And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit.   Miramax's last film of the year would be the one that changed everything for them.   Pelle the Conquerer.   Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date.   In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world.   For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen.   After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals.   Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor.   Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States.   Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors.   The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen.   But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up.   Well, for a foreign film.   The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win.   One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition.   I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle.   Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, is released.     Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Joined again by Full Cast and Crew spirit-animal Richard Brown for a deep discussion about James L. Brooks' 1987 picture 'Broadcast News', a stealthily subversive rejection of Hollywood Rom-Com tropes and one of the greatest films about television ever made.   Topics include: The great, troubled life and career of Polly Platt. Jim Brooks and 'Terms of Endearment' The research/interview based origination and approach to writing 'Broadcast News' Wrestling with the legacy of William Hurt, his transgressions and sobriety in the era of cancel culture. Holly Hunter and Albert Brooks LINKS: Great and useful articles about 'Broadcast News': A great piece by Haley Mlotek about the making of 'Broadcast News'.   A great profile of Polly Platt by Rachel Abromowitz from Premiere Magazine.   A funny period piece about news industry insiders seeing themselves in the characters of 'Broadcast News'.   A Collider piece on how 'Broadcast News' blows up Hollywood Rom-Com conventions.   CLIPS:   The 'Broadcast News' alternative ending, inspired by the French film 'A Man and a Woman'.    'Broadcast News' playlist of clips.

From the GHJ “Media Clips” Archive, February, 2021, veteran entertainment lawyer PETER DEKOM returns to expand upon his earlier episode about the state of the film and Television Industry during Covid. Peter been listed in Forbes among the top 100 lawyers in the country and in Premiere Magazine as one of the 50 most powerful people in Hollywood. His strategic consulting and trend analysis helps entertainment entities cope with change. Host Ilan Haimoff leads the Profit Participation Services practice at GHJ. Co-host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts.

From the GHJ “Media Clips” Archive, June, 2020, veteran entertainment lawyer PETER DEKOM offers an overview of the state of the business. Peter has been listed in Forbes among the top 100 U.S. lawyers and in Premiere Magazine as one of the 50 most powerful people in Hollywood. He is the author of “Next: Reinventing Media, Marketing and Entertainment.” Host Ilan Haimoff leads the Profit Participation Services practice at GHJ. Co-host Jason E. Squire is Editor of The Movie Business Book and Professor Emeritus, USC School of Cinematic Arts.

Tori Bravettia and Emma Fraser return to pop open the entertainment time capsule that is Permiere Magazine.Podcast Like It's 2009: Patreon.com/podcastlikeitsTwitter: twitter.com/podcastlikeitsInstagram: instagram.com/podcastlikeitsReddit: reddit.com/r/podcastlikeits See acast.com/privacy for privacy and opt-out information.

Tom O'Neill spent 20 years writing CHAOS - a book that rose out of the ashes of an article for Premiere Magazine about Charles Manson and the Manson Family. Throughout the years he discovered that the legendary book "Helter Skelter" by Vincent Bugliosi was not only incomplete but misleading. He discovered that the CIA may have been involved with Charles Manson as part of one of the multiple questionable projects they ran in the 60s like CHAOS and MKUltra along with COINTELPRO with the FBI. We go all over the place and especially focus on the possible CIA involvement with psychiatrist Louis Jolyon West aka "Jolly West." Original livestream on YouTube - https://youtu.be/WkTO3E89RHE More about Tom - https://tom-oneill.org/ Get the book https://amzn.to/3vyMvtV (affiliate link)   And don't forget to support the podcast by subscribing for free, reviewing, and sharing.   Check out YouTube with many more livestreams!  https://youtube.com/erichunley    Find me on Locals for bonus content and a community where you can support my work at https://unstructured.locals.com/    Web: https://erichunley.com/  Twitter: https://twitter.com/hunleyeric Facebook: https://facebook.com/hunleyeric Instagram: https://instagram.com/hunleyeric

Before his current role as NEA's Premiere Magazine editor, Richard was the sports writer for the local Paragould Daily Press. Plus, you can find many old photos of Paragould posted almost daily by checking out his series "Today's Blast from the Past" on his personal Facebook page. 

Paul Rudnick, author of the novel “Playing the Palace,” and the teleplay for the HBO film “Coastal Elites,” in conversation with host Richard Wolinsky. Playwright, screenwriter and novelist Paul Rudnick's latest novel, “Playing the Palace,” is the story of a gay man living in New York who falls in love with a gay Prince of Wales, and what ensues. His recent film, “Coastal Elites,” with Bette Midler, Dan Levy and others, is a contemporary account of life during the first half of 2020 when the awfulness of Donald Trump met the awfulness of the Covid-19 pandemic, seen as five separate monologues. Paul Rudnick has a long career as a playwright, with such plays as “Jeffrey,” his view of the AIDS epidemic and how an HIV-negative man deals with the crisis, “I Hate Hamlet,” and “The Most Fabulous Story Ever Told.” His screenplays include “Addams Family Values,” “In and Out,” and “Sister Act.” He is currently working on a musical version of “The Devil Wears Prada,” based on the screenplay, for which he was one of several script doctors. Paul Rudnick is also the author of film reviews by Libby Waxman-Gellmer, which have appeared in both Premiere Magazine and The New Yorker. The post Paul Rudnick, “Playing the Palace,” 2021 appeared first on KPFA.

Alicia will bring us along her journey as a rug designer and artist, she will explain the process of designing a handmade-to-order carpets by closely observing her customer and how her designs are translated into beautiful natural rugs in Nepal. We will discuss the difficulties of keeping creative juices flow in current times and what her point of view on color trends are. Alicia is an award-winning designer with more than 40 years of professional experience as an art director, graphic designer, surface designer, illustrator, and color consultant. She holds a BFA in Design/Illustration from CCAC and was an artist-in-residence at The Penland School of Crafts in North Carolina. She currently produces a line of custom, handmade-to-order carpets and is a popular speaker, presenter and teacher on design and color. Alicia has owned and operated her own textile business as well as designed for various industries and corporations such as Papyrus, Bloomingdale's, CBS Publications, New York Magazine, Parenting Magazine, Health/Hippocrates Magazine, Working Woman Magazine, Premiere Magazine, Image Magazine, RCA Records, American Craft Council. Her true loves have always been color and texture. Alicia comes from a long line of accomplished artists and her emergence as a rug maker is thanks to family: her Armenian-born grandfather, uncles and cousin are renowned Oriental rug authorities and collectors and that is why Carpets and color have been part of Alicia's life as long as she can remember: the smell of the wool, the touch of the fibers, the variety of patterns all are in her DNA.

Filmmaking once seemed a completely unattainable goal for anyone without about $50 million bucks sitting around collecting dust. But with the amazing equipment available today, and all the distribution channels, almost anyone can become a filmmaker. In fact, we hope that today’s episode gives you the nudge to try it yourself.  This week host, Eric Martsolf dives into “Filmmaking For Dummies” by Bryan Michael Stoller. Bryan has an accomplished career not only as an author and teacher, but most importantly for this episode, he has produced more than 100 productions ranging from comedy shorts to feature films. ABOUT ERIC MARTSOLF With over 3500 episodes of television under his belt, Mr. Martsolf has been providing "love in the afternoon" for NBC Daytime for the last 17 years. His portrayals of Ethan Winthrop on "Passions" and currently Brady Black on "Days of our Lives" have resulted in numerous industry accolades. He made daytime history in 2014 by being the first actor ever to win an Emmy in the Best Supporting Actor category for "Days of our Lives." His television credits expand into primetime (Extant, NCIS, Rizzoli & Isles), and his musical theatre repertoire consists of over 40 productions, including his critically acclaimed role as the Pharaoh in the Osmond Broadway Tour of "Joseph." Fans of the DC Universe will most notably recognize him as Justice League member and futuristic hero Booster Goldfrom the series Smallville. @ericmartsolf - Twitter (Blue check mark) ericmartsolf - Instagram (Blue check mark) ABOUT THE AUTHOR At the age of six, growing up in Canada, Bryan began experimenting with movies and animation. His first job in the film and television industry, when he was 11 years old, was as the host of a TV show on CBC (Canadian Broadcasting Company) called "Film Fun" in which he showed kids how to make their own Super-8 movies. He later transformed that talent into producing commercials for various Ottawa businesses that aired on TV in the 1970s. At nineteen, Bryan moved to Los Angeles to attend the American Film Institute as a Director Fellow. After AFI, Bryan's Hollywood career began when he became assistant to Johnny Carson on the pilot for "TV Bloopers & Practical Jokes." A few years later,  Bryan's comedy shorts, "Undershorts" became a regular feature on the show.  Bryan's "Undershorts" started a following and soon were featured on HBO, "Foul-Ups, Bleeps & Blunders," "The American Comedy Awards" and on various comedy variety shows. Bryan went on to direct an episode of the classic George A. Romero TV series, "Tales from the Darkside," entitled "The Bitterest Pill", starring Mark Blankfield.  The episode became the season's highest rated episode.  Bryan also wrote for The Ice Queen animated feature, starring the voices of Lauren Bacall and Bryan Adams. Stoller's other animation writing credits include story editor on the Cinar animation series, Animal Crackers. Bryan directed the landmark music video Hands Across America, produced by Ken Kragen which featured appearances by Barbra Streisand, Drew Barrymore and Robin Williams. Bryan and his films have been featured on Entertainment Tonight, Access Hollywood, Dateline NBC and in many newspapers and periodicals including The Los Angeles Times, Premiere Magazine and People Magazine.

A well-respected veteran critic who is based in New York, Glenn Kenny has written for publications such as Premiere Magazine - which is where I first read his byline in the '90s - as well as Film Comment, The Village Voice, and Rolling Stone. He also contributes reviews to The New York Times and RogerEbert.com.Additionally, a film professor at New York University's Tisch School of the Arts, Glenn is the author of the books Robert De Niro: Anatomy of an Actor, along with today's brand new release Made Men: The Story of Goodfellas, and has appeared in such films as Steven Soderbergh's The Girlfriend Experience and Ricky D'Angelo's The Sky is Clear and Blue Today.Looking back on his career writing about film, music, and video components, in this highly entertaining chat, Glenn shares his evolution as an entertainment writer and also gives us an amazing behind-the-scenes look at Scorsese, De Niro, Pileggi, Goodfellas, and what class is like with Professor Kenny at NYU.Originally Posted on Patreon (9/15/20) here: https://www.patreon.com/posts/41636882Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

October 24-30, 1998 This week Ken welcomes writer, film critic, cool gal, and kindred spirit Stephanie Crawford to the show. Ken and Stephanie discuss Las Vegas, Reno, The Luxor, Crime Story, Horror scopes, Mom and Pop Casinos, Premiere Magazine, Sassy, a love of movies, the internet in the 90s, being inspired by Almost Famous, Rolling Stone, The Good Wife, The Nest, over selling things, how Holden Caufield IS Opie Taylor, X-Rated Dick Van Dyke, Carrie II: The Rage, the awful graphic design of the late 90s, Mr. Show Bowling shirts, suburban terror, being too old to trick or treat, best Halloween costumes, The Simpsons' Treehouse of Horror, Tim Thomserson, Crimewave, the humor of Xena, Tales from the Crypt Demon Knight, The Frighteners, convincing your mom to take you to movies, From Dusk Til Dawn, only children, The Surreal Life, sketch shows, Buffy the Vampire Slayer, Baywatch, vigilante life guards, The Monster Club pop ups, boxtops for SNICK, erotic thrillers, Silk Stalkings, Libras vs Cancers, The Seventh Seal, The Secret Diary of Desmond Pfeiffer, Gary Busey, Witches, call backs, Turkey Horror, Celebrity Death Match, The Secret World of Alex Mac, The Good Wife, ER, TGIF, and examining Evil Twins.

Kenny was the esteemed critic of Premiere Magazine for many years before beginning his own blog at somecamerunning.typepad.com. He now reviews films for MSN. Support this podcast

Filmmaking once seemed a completely unattainable goal for anyone without about $50 million bucks sitting around collecting dust. But with the amazing equipment available today, and all the distribution channels, almost anyone can become a filmmaker. In fact, we hope that today’s episode gives you the nudge to try it yourself.  This week host, Eric Martsolf dives into “Filmmaking For Dummies” by Bryan Michael Stoller. Bryan has an accomplished career not only as an author and teacher, but most importantly for this episode, he has produced more than 100 productions ranging from comedy shorts to feature films. Please help us to bring you products from sponsors that mean something to you!  Take one minute and fill out our DUMMIES SPONSOR & PRODUCT  SURVEY:  https://survey.libsyn.com/fordummiesthepodcast This episode is sponsored by Zip Recruiter, the smartest way to hire! ABOUT ERIC MARTSOLF With over 3500 episodes of television under his belt, Mr. Martsolf has been providing "love in the afternoon" for NBC Daytime for the last 17 years. His portrayals of Ethan Winthrop on "Passions" and currently Brady Black on "Days of our Lives" have resulted in numerous industry accolades. He made daytime history in 2014 by being the first actor ever to win an Emmy in the Best Supporting Actor category for "Days of our Lives." His television credits expand into primetime (Extant, NCIS, Rizzoli & Isles), and his musical theatre repertoire consists of over 40 productions, including his critically acclaimed role as the Pharaoh in the Osmond Broadway Tour of "Joseph." Fans of the DC Universe will most notably recognize him as Justice League member and futuristic hero Booster Goldfrom the series Smallville. @ericmartsolf - Twitter (Blue check mark) ericmartsolf - Instagram (Blue check mark) ABOUT THE AUTHOR At the age of six, growing up in Canada, Bryan began experimenting with movies and animation. His first job in the film and television industry, when he was 11 years old, was as the host of a TV show on CBC (Canadian Broadcasting Company) called "Film Fun" in which he showed kids how to make their own Super-8 movies. He later transformed that talent into producing commercials for various Ottawa businesses that aired on TV in the 1970s. At nineteen, Bryan moved to Los Angeles to attend the American Film Institute as a Director Fellow. After AFI, Bryan's Hollywood career began when he became assistant to Johnny Carson on the pilot for "TV Bloopers & Practical Jokes." A few years later,  Bryan's comedy shorts, "Undershorts" became a regular feature on the show.  Bryan's "Undershorts" started a following and soon were featured on HBO, "Foul-Ups, Bleeps & Blunders," "The American Comedy Awards" and on various comedy variety shows. Bryan went on to direct an episode of the classic George A. Romero TV series, "Tales from the Darkside," entitled "The Bitterest Pill", starring Mark Blankfield.  The episode became the season's highest rated episode.  Bryan also wrote for The Ice Queen animated feature, starring the voices of Lauren Bacall and Bryan Adams. Stoller's other animation writing credits include story editor on the Cinar animation series, Animal Crackers. Bryan directed the landmark music video Hands Across America, produced by Ken Kragen which featured appearances by Barbra Streisand, Drew Barrymore and Robin Williams. Bryan and his films have been featured on Entertainment Tonight, Access Hollywood, Dateline NBC and in many newspapers and periodicals including The Los Angeles Times, Premiere Magazine and People Magazine.

On today's podcast I speak with Jennifer Laski who has worked as a photo editor , video director, and producer for both editorial and advertising productions for over 20 years. She has worked with publications and brands such as Elle Magazine, Premiere Magazine, Departures Magazine, Pottery Barn, and Essence Magazine to name a few. She is currently the executive Photo & Video director at The Hollywood Reporter and Billboard magazine. In this interview I speak to Jen about her journey in the photo industry as well as what advice she would give to younger people getting in the business. I hope you enjoy and thanks for listening. Instagram - @jenlaskiphotovideo

This is a segment of episode #199 of Last Born In The Wilderness “Kaczynski Moments: A Generation Of Unabomber Acolytes (& Apostates) w/ John H. Richardson.” Listen to the full episode: http://bit.ly/LBWrichardson Read John H. Richardon’s article ‘Children of Ted: The Unlikely New Generation of Unabomber Acolytes’ at New York Magazine: http://bit.ly/ChildrenOfTed In this segment of my interview with journalist John H. Richardson, former Writer at Large for Esquire, we discuss his captivating article ‘Children of Ted: The Unlikely New Generation of Unabomber Acolytes,’ published December 2018 in New York Magazine. John takes a deep dive into the world of Theodore Kaczynski (aka the Unabomber) acolytes and apostates, a journey that documents his interactions with various individuals and groups that have been inspired (or adjacently-inspired) by the anti-civilizational writings and philosophy of Kaczynski (and even his multiple deadly acts of terrorism leading up to his arrest by the FBI in 1996). While John’s article is centered around the story of John Jacobi, who become radicalized (in part) through his exposure to Kaczynski’s manifesto ‘Industrial Society and Its Future’ and his subsequent correspondences with him, the article more broadly examines a phenomenon Richardson describes as Kaczynski Moments. “The Kaczynski moment dislocates. Suddenly, everyone seems to be living in a dream world. Why are they talking about binge TV and the latest political outrage when we’re turning the goddamn atmosphere into a vast tanker of Zyklon B? Was he right? Were we all gelded and put in harnesses without even knowing it? Is this just a simulation of life, not life itself?” As John writes and states in this interview, Kaczynski Moments cut through almost every political tendency and ideology, and yield wide and varied results. In writing the piece, John interviews some of the most prominent anti-civilizational activists, writers, and even a terror-friendly propagandist for an eco-extremist outfit operating in Mexico and South/Central America. We discuss John’s own Kaczynski Moment and interactions with the man himself, and how his research into the lives of Kaczynski-inspired or Kaczynski-adjacent-inspired individuals and groups has informed his journalism and life after the publication of ‘Children of Ted’ this past December.  It must be stated, for myself and John, that we do not condone or endorse the actions of Theodore Kaczynski, or those inspired or adjacently-inspired by his actions. The ethical/philosophical differences between the various parties discussed in this episode should be apparent and obvious to the listener, at least that is what I hope.  John H. Richardson is a journalist and former Writer at Large for Esquire Magazine. He is the author of three books, including ‘My Father The Spy, An Investigative Memoir.’ He was born in Washington D.C. in 1954, and grew up in Athens, Manila, Saigon, Washington, Seoul, Honolulu, and Los Angeles. John has worked at the Albuquerque Tribune, The Los Angeles Daily News, Premiere Magazine, New York Magazine, and Esquire Magazine and taught at the Columbia University, the University of New Mexico, and Purchase College. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

INTRO: 12:22 | OUTRO: 1:56:30 In this episode, I speak with journalist John H. Richardson. Former Writer at Large for Esquire, John is the author of the captivating article ‘Children of Ted: The Unlikely New Generation of Unabomber Acolytes,’ published December 2018 in New York Magazine. In the article ‘Children of Ted,’ John takes a deep dive into the world of Theodore Kaczynski (aka the Unabomber) acolytes and apostates, a journey that documents his interactions with various individuals and groups that have been inspired (or adjacently-inspired) by the anti-civilizational writings and philosophy of Kaczynski (and even his multiple deadly acts of terrorism leading up to his arrest by the FBI in 1996). While John’s article is centered around the story of John Jacobi, who become radicalized (in part) through his exposure to Kaczynski’s manifesto ‘Industrial Society and Its Future’ and his subsequent correspondences with him, the article more broadly examines a phenomenon Richardson describes as Kaczynski Moments. “The Kaczynski moment dislocates. Suddenly, everyone seems to be living in a dream world. Why are they talking about binge TV and the latest political outrage when we’re turning the goddamn atmosphere into a vast tanker of Zyklon B? Was he right? Were we all gelded and put in harnesses without even knowing it? Is this just a simulation of life, not life itself?” (http://bit.ly/ChildrenOfTed) As John writes and states in this interview, Kaczynski Moments cut through almost every political tendency and ideology, and yield wide and varied results. In writing the piece, John interviewed some of the most prominent anti-civilizational activists, writers, and even a terror-friendly propagandist for an eco-extremist outfit operating in Mexico and South/Central America. We discuss John’s own Kaczynski Moment and interactions with the man himself, and how his research into the lives of Kaczynski-inspired or Kaczynski-adjacent-inspired individuals and groups has informed his journalism and life after the publication of ‘Children of Ted’ this past December.  It must be stated, for myself and John, that we do not condone or endorse the actions of Theodore Kaczynski, or those inspired or adjacently-inspired by his actions. The ethical/philosophical differences between the various parties discussed in this episode should be apparent and obvious to the listener, at least that is what I hope.  John H. Richardson is a journalist and former Writer at Large for Esquire Magazine. He is the author of three books, including ‘My Father The Spy, An Investigative Memoir.’ He was born in Washington D.C. in 1954, and grew up in Athens, Manila, Saigon, Washington, Seoul, Honolulu, and Los Angeles. John has worked at the Albuquerque Tribune, The Los Angeles Daily News, Premiere Magazine, New York Magazine, and Esquire Magazine and taught at the Columbia University, the University of New Mexico, and Purchase College. Episode Notes: - Read John’s article ‘Children of Ted: The Unlikely New Generation of Unabomber Acolytes’ at New York Magazine: http://bit.ly/ChildrenOfTed - Read John’s article ‘When the End of Human Civilization Is Your Day Job’ at Esquire: http://bit.ly/2WVIqCY - Much of John’s work can be found at his website: http://johnhrichardson.com - Read ‘Industrial Society and Its Future’ by Theodore Kaczynski: https://wapo.st/2ZiwzvZ - Read Bill Joy’s ‘Why The Future Doesn’t Need Us’ at Wired: http://bit.ly/BillJoy - The songs featured in this episode are “Akew” and “Subordinate CEO” by Miguel Baptista Benedict from the album Super(B)-Child-Ran. - The title card features the photograph “Unabomber Cabin, 1998” by Richard Barnes. WEBSITE: https://www.lastborninthewilderness.com PATREON: https://www.patreon.com/lastborninthewilderness DONATE: https://www.paypal.me/lastbornpodcast DROP ME A LINE: Call (208) 918-2837 or http://bit.ly/LBWfiledrop EVERYTHING ELSE: https://linktr.ee/patterns.of.behavior

Mark Young started playing tennis as a junior in Australia training under relatively strict conditions. When his dad came home one day and announced he was moving the family to the US, the captain of the local high school team took Mark under his wing and helped him develop into a very proficient college player at Oberlin College, a top D3 program in Ohio.  Fast-forward many years where Mark and his wife joined the faculty of USC in Southern California as part of the accounting department. Anyone who is familiar with USC sports will understand how Mark quickly became one of the tennis team's biggest supporters and fans, so much so that he decided to write an entire book chronicling the history of this great program, TROJAN TENNIS. In this week's episode, Mark discusses his connection to the USC Trojan Men's Tennis Team and why he felt it important to document its story. He did extensive research in USC's Doheny Library, called and emailed a variety of past USC players, and spent an incredible amount of time interviewing current and past coaches. The result is a comprehensive history of one of the greatest - and winningest - college tennis programs in US history. There are so many lessons to learn from Mark's book and from this week's podcast! Please listen and share with your junior players! You can purchase TROJAN TENNIS online here.  Read more about Mark in his bio: Dr. S. Mark Young holds the George Bozanic and Holman G. Hurt Chair in Sports and Entertainment Business at the University of Southern California. Dr. Young is also a Professor of Accounting in the Leventhal School of Accounting and holds joint appointments as Professor of Management and Organization in the Marshall School of Business, and Professor of Communication and Journalism in the Annenberg School of Communication. He is also a Distinguished Visiting Professor at Peking University. Previously, Young served as the Associate Dean of the Marshall MBA Program. He is also a New York Times and Los Angeles Times Bestselling Author.  Professor Young received an A.B. from Oberlin College (Economics), an M. Acc. from the Ohio State University, and a Ph.D. (Accounting) from the University of Pittsburgh. His research interests are in the areas of management accounting and control, the business of the creative industries, and the sociology of collecting and futurism. His book (coauthored with Pinsky, The Mirror Effect: How Celebrity Narcissism is Seducing America, (Harper Collins, 2009), is an analysis of how celebrity acting out behavior is having a profoundly negative impact on today’s youth and our society. This book was on both the New York Times and LA Times Best Selling Lists. Within the Marshall School of Business, Mark developed the Business of the Creative Industries concentration, an academic program in which MBA students can learn about the business side of the motion picture, television, music and games industries. Young teaches the core course in the program, “Management and Organization of the Creative Industries.”   Within management accounting he has published over 40 articles that focus on how the design of management accounting and control systems influences human behavior and performance in a wide variety of organizational contexts. In 2006, his book Implementing Management Innovations: Lessons Learned from Activity Based Manufacturing in the U.S. Automobile Industry (co-authored with Shannon Anderson, Kluwer Academic Press) won the Notable Contribution to the Management Accounting Literature Award from the American Accounting Association – the highest research award given in academic accounting. He has coauthored the text, Management Accounting, Information for Decision Making and Strategy Execution (6th Edition, Pearson Prentice-Hall, 2012) with Robert Kaplan (Harvard), Anthony Atkinson (Wilfred Laurier) and Ella Mae Matsumura (Wisconsin), and the associated book, Readings in Management Accounting (6th Edition; Pearson, Prentice-Hall, 2012).  A former Division 3 tennis player and life long enthusiast, Mark also serves as the team historian for USC Men’s Tennis team. He also serves as Chair of the Oversight Committee for Athletic Academic Affairs – the committee that oversees the academic side of all USC athletes.  Mark’s book, Trojan Tennis – A History of the Storied Men’s Tennis Team at the University of Southern California was published in 2018. This book documents the USC Trojans – the winningest men’s tennis program in U.S. collegiate tennis history.  Dr. Young has won several outstanding teaching awards at the undergraduate and graduate levels, including the Golden Apple Teaching Award at USC, the Mellon Mentoring Award (twice for working with Ph.D. students) and the Jim Bulloch Award for Innovations in Management Accounting Education given by the American Accounting Association. Young is also a Distinguished Fellow at the Center for Teaching Excellence at USC. He has also taught in senior executive programs including the Global EMBA in Shanghai. Young is currently a member of the Board of Governors of Fremont College and served as a Board Member for StoriedLearning.Com. He has consulted and conducted research with Warner Brothers, Chrysler, GM, StorageTek, Texas Instruments, and the California Medical Association.  Mark comments regularly in the business and entertainment presses and has appeared on BBC’s Newsday, CNN’s The Situation Room, Showbiz Tonight, The View, The Howard Stern Show, Fox & Friends, ABC News, Fox Business Channel, the KTLA Morning News, and the Fox Strategy Room, and has been interviewed by The Economist, Financial Times, Laura Ingraham, the BBC, the New York Times, The Guardian, the LA Times, National Public Radio, Marketplace, The London Times, Scientific American Mind, the Associated Press, Newsweek, People Magazine, Premiere Magazine, Woman’s Wear Daily and Bloomberg BusinessWeek. Thank you to STØNE for our music! You can find more of his music at SoundCloud.com/stonemuzic If you’re so inclined, please share this – and all our episodes! – with your tennis community. You can subscribe to the podcast on iTunes or via the ParentingAces website.

She starred in thirty major films. She was awarded a Golden Globe for “Female World Film Favorite.” She started her own production company. She was voted “2nd Greatest Movie Star” of all time by Premiere Magazine. She was chosen by Empire magazine as one of the “100 Sexiest Stars in Film History.” She was beautiful, talented, successful and seemed to have everything a woman could ever dream of, except for one thing - happiness. Who am I talking about? Norma Jeane Baker, better known as Marilyn Monroe. She’s the epitome of a girl defined by her culture. How could a woman who literally had “everything” still feel unloved and unfulfilled? Kristen Clark & Bethany Baird are my guests to help answer that question. They have written a new book titled “Girl Defined: God’s Radical Design for Beauty, Femininity and Identity”.

She starred in thirty major films. She was awarded a Golden Globe for “Female World Film Favorite.” She started her own production company. She was voted “2nd Greatest Movie Star” of all time by Premiere Magazine. She was chosen by Empire magazine as one of the “100 Sexiest Stars in Film History.” She was beautiful, talented, successful and seemed to have everything a woman could ever dream of, except for one thing - happiness. Who am I talking about? Norma Jeane Baker, better known as Marilyn Monroe. She’s the epitome of a girl defined by her culture. How could a woman who literally had “everything” still feel unloved and unfulfilled? Kristen Clark & Bethany Baird are my guests to help answer that question. They have written a new book titled “Girl Defined: God’s Radical Design for Beauty, Femininity and Identity”.

Peter Dekom is a Los Angeles-based lawyer, consultant, and entrepreneur in the fields of entertainment, Internet, and telecommunications. Peter’s clients have included such Hollywood notables as George Lucas, Paul Haggis, Keenen Ivory Wayans, John Travolta, Ron Howard, Rob Reiner, Andy Davis, Robert Towne and Larry Gordon among many others, as well as corporate clients such as Sears, Roebuck and Co., Pacific Telesis and Japan Victor Corporation (JVC). He has been listed in Forbes among the top 100 lawyers in the United States and in Premiere Magazine as one of the 50 most powerful people in Hollywood. He is also the author of the recent book, “Next: Reinventing Media, Marketing and Entertainment

Peter Dekom is a Los Angeles-based lawyer, consultant, and entrepreneur in the fields of entertainment, Internet, and telecommunications. Peter’s clients have included such Hollywood notables as George Lucas, Paul Haggis, Keenen Ivory Wayans, John Travolta, Ron Howard, Rob Reiner, Andy Davis, Robert Towne and Larry Gordon among many others, as well as corporate clients such as Sears, Roebuck and Co., Pacific Telesis and Japan Victor Corporation (JVC). He has been listed in Forbes among the top 100 lawyers in the United States and in Premiere Magazine as one of the 50 most powerful people in Hollywood. He is also the author of the recent book, “Next: Reinventing Media, Marketing and Entertainment

David Strick has worked as an editorial, advertising and corporate photographer whose interest in the entertainment world has led him to originate documentary behind-the-scenes print and web features for major media companies, including eleven years of producing a monthly photo column for Premiere Magazine entitled “David Strick’s Hollywood,” 2 ½ years of originating and photographing a web/print feature called “David Strick’s Hollywood Backlot” for the Los Angeles Times, and a web/print feature for The Hollywood Reporter, entitled “David Strick’s Hollywood.” He has taught at Art Center College of Design, lectured at UCLA Extension, and the Photographic Resource Center at Boston University. He has served on the board of APA/Editorial Photographers, and as an honorary member of the Society of Motion Picture Still Photographers. www.davidstrick.com www.jeffjacobsonphotography.com www.thecandidframe.com info@thecandidframe.com

Playwright Paul Rudnick discusses his evening of one-act plays, "The New Century", currently playing at Lincoln Center Theatre, including how he came to combine characters originally written for separate plays into a single work and how he hopes they play against their stereotypes; how he announced his plans to be a playwright to his parents as a young child, before he'd even seen a play; the senior class project that he threw together at the last minute only to see it swiftly produced as a one-night-only event at Yale; the famously troubled Broadway run of "I Hate Hamlet"; the difficulty he experienced trying to get "Jeffrey", a comedy set in the era of AIDS, produced; and the story behind his longest-running character, film critic Libby Gelman-Waxner of "Premiere" magazine. Original air date - April 18, 2008.

Playwright Paul Rudnick discusses his evening of one-act plays, "The New Century", currently playing at Lincoln Center Theatre, including how he came to combine characters originally written for separate plays into a single work and how he hopes they play against their stereotypes; how he announced his plans to be a playwright to his parents as a young child, before he'd even seen a play; the senior class project that he threw together at the last minute only to see it swiftly produced as a one-night-only event at Yale; the famously troubled Broadway run of "I Hate Hamlet"; the difficulty he experienced trying to get "Jeffrey", a comedy set in the era of AIDS, produced; and the story behind his longest-running character, film critic Libby Gelman-Waxner of "Premiere" magazine. Original air date - April 18, 2008.

Simon Kinberg is a British-born writer whose work on projects such as X-Men: The Last Stand and Mr. and Mrs. Smith has made him one of Hollywood's hottest scribes and earned him accolades such as being named by Premiere Magazine as "New Power" Screenwriter of the Year in 2005. Kinberg was a featured guest at the Zaki Gordon Speaker Series, hosted by the Division of Writing for Screen & Television at the USC School of Cinematic Arts. An episode of the Zaki Gordon Speaker Series podcast.

Susan Lyne ( https://twitter.com/smlyne ) is the co-founder and Managing Partner of BBG Ventures ( https://www.bbgventures.com/ ) , a fund that invests in visionary entrepreneurs building the next generation of market-defining consumer products and services. Every company in their portfolio has at least one female founder. Some of their investments include Zola ( https://www.zola.com/ ) , Blueland ( https://www.blueland.com/ ) , Beautycon ( https://beautycon.com/ ) , and NextGenVest ( https://www.prnewswire.com/news-releases/commonbond-acquires-nextgenvest-to-fuel-expansion-and-provide-ai-powered-financial-advice-to-generation-z-300759407.html ) (acq. by CommonBond ( https://www.commonbond.co/ ) ) Susan began her career in the magazine industry, where she founded and led Premiere Magazine ( https://en.wikipedia.org/wiki/Premiere_(magazine) ). She spent almost a decade at Disney ( https://www.disney.com/ ) , rising to President of Entertainment at ABC ( https://abc.com/ ). She was the CEO of Martha Stewart Living Omnimedia ( https://en.wikipedia.org/wiki/Martha_Stewart_Living_Omnimedia ) ; CEO and then Chair of Gilt.com ( https://www.gilt.com/boutique/ ) ; and she led AOL ( https://www.aol.com/ ) 's Brand Group, overseeing such brands as TechCrunch ( https://techcrunch.com/ ) , Engadget ( https://www.engadget.com/ ) and Moviefone ( https://www.moviefone.com/ ) , immediately before launching BBG Ventures. A couple of books that Susan recommends are The Ride of a Lifetime: Lessons Learned from 15 Years as CEO of the Walt Disney Company ( https://amzn.to/2Yg48Ql ) by Robert Iger and Our Man: Richard Holbrooke and the End of the American Century ( https://amzn.to/2RkpUAR ) by George Packer You can follow Susan on Twitter Here ( https://twitter.com/smlyne ) @smlyne, where she posts lots of great content on startups. If you would like to follow your host, Mike, for updates on the show, you can follow him Here ( https://twitter.com/MikeGelb ) on Twitter. New episodes released every Monday and Thursday. If you would like to *follow along* you can *click “Subscribe”* on the *Apple podcast app or whichever platform you are listening on*. If you enjoyed the episode, feel free to also leave a review. In this episode, you will learn - 1. Why Susan decided to leave her prestigious career in media, television, ecommerce and as an operator for some of the world's biggest companies to start her own fund?Her mission when founding a venture capital fund and some of her learnings as an operator. 2. Does she think venture capital is moving quickly enough to bridge the gap between the number of women founders that are able to fundraise compared to male founders that are able to fundraise? What are some of the things that need to happen to help empower women entrepreneurs? 3. When should startups optimize for profitability rather than growth? How does she think about price and evaluation in today's climate? 4. In her due diligence process when evaluating startups, how she knows if the startup is solving a real consumer pain point? How she thinks about founder-market fit? How she thinks about online customer acquisition today given the rising prices? 5. How she thinks about time allocation and cadence of communication amongst her portfolio companies. Consumer trends she is most excited about and some of the differences between millennials and Gen Z.