Podcasts about psycho iii

Continuing our theme of exploring sequels to films we cover in the main feed, it was only natural that we'd want to follow the surprisingly good Psycho II (1983) with the surprisingly bad Psycho III (1986) in our Patreon feed. On paper, it looked like a slam dunk: Anthony Perkins was returning to his iconic role as Norman Bates and taking up the director's chair for the first time; the writer is Charles Edward Pogue, who was simultaneously drawing attention for his take on The Fly (1986); and it picks up at the motel barely weeks after the shocking finale of the second film. What could go wrong? Pretty much everything, it turns out. If you like what you hear, head on over to www.patreon.com/movieoubliette and become a Patron to get hours of exclusive bonus content, nominate films for us to cover and vote on the final verdict – all for $10 or less!

PUBLIC VERSION. Filmmaker and actress Katt Shea (POISON IVY, THE RAGE: CARRIE 2, STRIPPED TO KILL, PSYCHO III, NANCY DREW AND THE HIDDEN STAIRCASE) joins Adam, Joe, and Arwen to discuss her career journey. From putting on shows in her backyard at age twelve and realizing she could enlist other neighborhood kids and charge their parents to come watch… to becoming a working actress on films like BARBARIAN QUEEN, HOLLYWOOD HOT TUBS, THE DEVASTATOR… to learning all that she could about the filmmaking process while acting for the great Brian DePalma on SCARFACE and the legendary Anthony Perkins on PSYCHO III… to the crazy hurdles she jumped through in order to convince Roger Corman to green-light her directorial debut STRIPPED TO KILL… to how the production wound up having a bigger budget than other Concorde Pictures' films and how the overall Corman experience prepared her to solve any hurdle a shoot throws at her… to the absolutely incredible story of the dog (“Bear”) that was rescued in real life in order to play “Ruby” the rescue dog star of her 2022 film RESCUED BY RUBY… to the challenges of working on a film with a Director of Photography that only wanted to do things their own way… to accepting the job to direct THE RAGE: CARRIE 2 on merely four days notice while knowing all along that she'd have a target on her back for daring to direct a sequel to CARRIE… to what “Carrie” herself (Academy Award winner Sissy Spacek) said about the sequel once she saw it… to how time can change movies that were originally panned (like SCARFACE) and see them go on to become beloved films and part of pop culture… to the way life wound up imitating art with her 1992 film POISON IVY… to what it was like being one of the only women at the early Masters of Horror get togethers… to why she loves teaching acting so much and how age and experience can really strengthen an artist's spine… Katt's fearless 40+ year career is certainly one to be celebrated.

In this episode of Cult Film School, Adrian and Dion overstay their welcome in Fairvale to soak in the ambience of the three Psycho sequels: Richard Franklin's Psycho II (1983), Anthony Perkin's Psycho III (1986), & Mick Garris's Psycho IV: The Beginning (1990). They discuss the different attempts at returning to the 1960 film, and the different ways the sequels remake and reimagine it. They also consider the many incarnations of Norman Bates while attempting to answer the question, ‘How many film references can one sequel have?' Spoiler: Probably enough to fill a bathtub.   Chapters: 0:00:12 - Welcome to Cult Film School 0:03:00 - Personal Introductions to the Psycho Sequels 0:06:38 - Psycho II (1983): IMDb Plot Summary 0:07:38 - Contexts for Psycho II: The Hitchcock Five, Robert Bloch's Sequel Novel, & Production History 0:14:45 - Psycho II: “This film has no right being as good as it is.” 0:24:21 - The Ambiguous Psychology of Norman Bates 0:32:34 - Violence in Psycho II 0:36:43 - Psycho II (1983): Tagline 0:37:59 - Psycho III (1986): IMDb Plot Summary 0:39:28 - The Visual Style of Psycho III: “Blood Simple by Michael Mann” X Giallo 0:43:10 - Jeff Fahey Appreciation Society (& Crotch Lamp Sex Scene) 0:48:06 - Hysteria of Psycho III 0:52:19 - Confusion with Psycho III 0:55:34 - Psycho III (1986): Tagline 0:57:07 - Psycho IV: The Beginning (1990): IMDb Plot Summary 1:01:59 - “The Rob Zombie Halloween of Psycho films” 1:03:04 - The Confusing Loose Ends of Psycho IV: The Beginning 1:08:16 - Psycho IV: The Beginning: What If Norman Bates was an Unreliable Narrator? 1:13:22 - Psycho IV: The Beginning (1990): Tagline 1:15:18 - Psycho Sequels Wrap-Up 1:18:14 - Next Episode Preview   Connect with Adrian & Dion: Letterboxd ~ CultFilmSchool Instagram ~ @cultfilmschool  Threads ~ @cultfilmschool X ~ @cultfilmschool Facebook  ~ Follow Us! Send an Email ~ cultfilmschoolpodcast@gmail.com  Don't forget to leave a rating and review!

Drew and Travis feel mother's love in Psycho II and Psycho III, a double feature to wrap up our month of horror films! TIMESTAMPS 00:00:00 - Psycho II 00:34:43 - Psycho III 01:09:06 - The Shelf 01:18:54 - Calls to Action 01:19:42 - Currently Consuming 01:28:07 - End SHOW LINKS Mommie Dearest Psycho IV: The Beginning Rob Zombie Goes Yacht Rock: A Unique Mashup Abominable (2006)

Our latest interview is with someone we have hoped to talk with for some time, director, writer, and actor Katt Shea! We go through her early career where Shea appeared as an actor in a few Corman-produced films before stalking Roger to get an opportunity to direct her debut feature, 1987's STRIPPED TO KILL! Shea describes  the key to landing an audition,  how acting in PSYCHO III ending up helping her sell STRIPPED TO KILL to Roger,  her difficulties after directing the 1991 hit POISON IVY,  and what it was like to work for Roger, both good and bad. Don't miss out on this great conversation with Katt Shea! For more on Katt Shea and her acting classes: https://www.kattshea.com/ Follow here on Twitter: https://x.com/KattShea For more on The New World Pictures Podcast, head here:  https://newworldpicturespodcast.com/

Norman Bates is up to his old tricks (or is he?). Anthony Perkins pulls double duty on this one, he reprises his most iconic role and steps behind the camera as director. What did we think? Listen and find out. In our 3rd segment Mike quizzes Eric about horror movie moms in a segment called MOMMY ISSUES. --- Send in a voice message: https://podcasters.spotify.com/pod/show/killstreakpod/message

"You may have a sister in front of you, but Mother is superior." ~ Old Tomato Face improving the script. The next topic in April Showers Month is Psycho IV: The Beginning.

Mr. Monopoly and Old Tomato Face pitched a new theme, "April showers". Join us all month long as we cover all the Psycho sequels. Check out the various projects of our pantheon members: Old Tomato Face - Bad For Me, examining movies that supposedly make people cry. Chibi - The BRAND NEW Unidentified Flying Obsession. Lebbi - Gamelink is about video game movies and the games behind them. Next week's episode is Psycho III.

Ryan and Nick G. head to the Bates Motel for a 3rd time to talk about Psycho III!Support the show

Happy New Year! This week Josh and Drusilla cover the classic Alfred Hitchcock film, Psycho (1960). From wiki: “Psycho is a 1960 American horror film produced and directed by Alfred Hitchcock. The screenplay, written by Joseph Stefano, was based on the 1959 novel of the same name by Robert Bloch. The film stars Anthony Perkins, Janet Leigh, Vera Miles, John Gavin and Martin Balsam. The plot centers on an encounter between on-the-run embezzler Marion Crane (Leigh) and shy motel proprietor Norman Bates (Perkins) and its aftermath, in which a private investigator (Balsam), Marion's lover Sam Loomis (Gavin), and her sister Lila (Miles) investigate her disappearance.[8]Also, Carmel, Indiana, our favorite first-time watches, Julian Sands' butt, The Cremator, Don't Deliver Us From Evil, Orgasmo, Targets, Whistle and I'll Come to You, Dream Scenario, Wonka, While You Were Sleeping, transphobic killers, Dressed to Kill, Ed Gein, Bates Motel, Psycho II, Psycho III, Carnival of Souls, women driving, Peeping Tom, Frasier, Cate Blanchett loves horror, and more! NEXT WEEK: Safe (1995) Website: http://www.bloodhauspod.comTwitter: https://twitter.com/BloodhausPodInstagram: https://www.instagram.com/bloodhauspod/Email: bloodhauspod@gmail.comDrusilla's art: https://www.sisterhydedesign.com/Drusilla's Instagram: https://www.instagram.com/hydesister/Drusilla's Letterboxd: https://letterboxd.com/drew_phillips/Joshua's website: https://www.joshuaconkel.com/Joshua's Bluesky: https://bsky.app/profile/joshuaconkel.bsky.socialInstagram: https://www.instagram.com/joshua_conkel/Joshua's Letterboxd: https://letterboxd.com/joshuaconkel

Halloween episode out just in time for Christmas

Återigen är vi tillbaka på Studio Bonden och spelar in. Stort tack för att vi fick komma. I veckans avsnitt har Panos varit sjuk och därmed extra produktiv. Därför har han hunnit plöja igenom Spider-Man 2. Han har åsikter. Martin har sett samma musikal två gånger i olika format, ett väldigt Martin-move att göra. Ludvig har sett film om Idi Amin och Johan har varit nere och röjt i animeträsket. Kan man tillbe en broccoli? Det får ni lära er i veckans otroligt krispiga avsnitt! 09:02 - Intro 24:02 - AC Mirage slutkommentar 28:49 - Spider-man 2 35:35 - Newsies x2 50:11 - Mob Psycho III 58:50 - Last King of Scotland 01:09:20 - Tre Snabba Lyssna på avsnittet på Spotify, Soundcloud eller där du hittar dina podcasts. Se avsnittet på YouTube på medisradiotv. Du hittar allting samlat på: linktr.ee/medisradio (länk finns i bion). Har DU något att säga till oss? Tips på något att prata om, åsikter om något vi sagt eller vill kanske bara säga hej? Skriv till oss på Facebook, följ oss på Instagram @medisradio och mejla till oss på medisradio@gmail.com. Vill ni se oss spela spel på Twitch så följ oss på @MedisRadioTV.

Our Sequel season continues with the 1986 Anthony Perkins Directed Psycho III#psychoIII #psycho3 #normanbates #anthonyperkins Thanks to all our YouTube Members for supporting the channel.⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯JOIN OUR YOUTUBE MEMBERSHIP SCHEME AT THE FOLLOWINK LINK ⬇️➡️ https://www.youtube.com/channel/UCLfaW3fd5Oo-nFvKsL_1CfQ/join⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯thanks to "Karl Casey @ White Bat Audio" for providing the superb synth background music.https://www.youtube.com/@WhiteBatAudio⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯Many thanks to Jason Draughon for the amazing channel artwork. You can check him out here at https://www.instagram.com/jase_drawn/⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯JOIN OUR TWO FACEBOOK GROUPS BELOWTSL MOVIE PODCAST FACEBOOK PAGE ⬇️➡️ https://www.facebook.com/groups/803029887178672MEMORIES OF HALLOWEEN 45 YEARS OF TERROR ⬇️➡️ https://www.facebook.com/groups/971696203856000⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯https://www.instagram.com/the_slaughtered_lamb_podcast/https://twitter.com/SlaughteredThe⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯⎯All clips and images used in this video were used ONLY as a means to review and criticise and should be considered as FAIR USE, under the Copyright act.Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.Support the show

On this episode of the Zombie Grrlz Horror Podcast, we have a case of “underrated threequel fever” in our double feature of Psycho III and The Exorcist III. We chat about fish diatribes, horror oddities, and Norman Bates' ladies' man era. So, did these movies make us want to come back for thirds, or was... Read More The post Zombie Grrlz Horror Podcast Episode 97: Psycho III & The Exorcist III appeared first on The Zombie Grrlz Horror Podcast.

Shea and Sam go a little mad exploring Psycho's second sequel, directed by Anthony Perkins himself, Psycho III. They also touch on the other movies in Arrow's 4K box set, make recommendations, and so much more! Also, recommendations based on the movie, and what we've been watching in the past couple of weeks. Follow Shea on Instagram: www.instagram.com/black_vvideo/ And Sam: www.instagram.com/samashurst23/ Or listen to Sam and Shea having weekly discussions of rare and obscure movies over at VHS Quest: www.patreon.com/VHSquest

Happy Halloween! It's the end of Spooky Threequel Month, but there's nothing new from Michael Myers to talk about, so instead we're renting a cabin at that little motel off the highway to talk about Psycho III. Oh yeah, they made sequels to Psycho, and they're surprisingly not bad! While Norman Bates deals with his mommy issues, Will and Sam discuss the perils of remaking and sequelizing Hitchcock, the various cinematic influences that made their way into actor Anthony Perkins' directorial debut, and speculate on whether Jeff Fahey's sleazy/friendly/crazy character was originally two or even three separate people in the original script. Music: Backbeat by Kevin MacLeod (https://incompetech.filmmusic.io/) via Creative Commons license. (https://creativecommons.org/licenses/by/3.0/legalcode)

The 4th Scary Sequel Month is rolling along great and we are diving back into the pool of Norman Bates and his mother for Psycho III. We discussed how they brushed off the second movie's ending, the odd homecoming game party, the 80s hotties in this small town, Jeff Fahey playing a dick, if the wet look is in, and more. Watch the unedited review at sequelsonly.com/Psycho3 We are finishing off Scary Sequel month with Halloween 3: Season of the Witch Buy Larry Hankin's book that Doug helped him put together at https://www.amazon.com/That-Guy-Cautionary-Larry-Hankin/dp/B0BW32R6FN/ref=sr_1_1?qid=1678339317&refinements=p_27%3ALarry+Hankin&s=books&sr=1-1 Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk!

293) Psycho III (1986)

An introduction, movies and video stores, Stacy Keach, Dorothy Stratten and seeing Bruce Willis stoned, what more could you ask for?  Stuff mentioned:  Reality Bites (1994), Back to the Future (1985), Back to the Future Part II (1989), The Frighteners (1996), The Hard Way (1991), Faithfull: An Autobiography (1995), Mike Hammer, Private Eye (1997-1998), Road Games (1981), Psycho II (1983), Psycho (1960), Psycho III (1986), Psycho IV:  The Beginning (1990), Blow Out (1981), Body Bags (1993), An American Werewolf In London (1981), Running on Empty (1988), That Thing You Do (1996) but I meant to say The Thing Called Love (1993), Mission Impossible (1996), Ed Ruscha's 12 Sunsets (1965-2007), Star 80 (1983), All That Jazz (1979), Sister, Sister (1987), Altered States (1980), The Last Boy Scout (1991), The Long Kiss Goodnight (1996), and Bang the Drum Slowly (1973). 

Fala otakeiros e otakeiras, sejam bem-vindos a mais um Otakeiracast, seu podcast com mais vida alienígena e sobrenatural sobre animes, filmes e tudo mais que for oriental, e às vezes, nem tão orientais assim. E no episódio de hoje, JF, Gabriel, e Mesthor vão se declarar pela última vez sobre essa temporada incrível de MOB Psycho 100% III. #otakeiracast #podcast #podcastcollective #anime #animes #animebrasil #animelove #animelover #otaku #otakubr #otakubrasil #otakubrasileiro

Episode 230 We still have more oldies for you this week, some real overlooked classics this time. This week, we'll start with “Burnt Offerings,” a sort of haunted house film from 1976. Then we'll catch up with Norman Bates in “Psycho II” and “Psycho III” from 1983 and 1986, then we'll find out “What Ever Happened to Baby Jane?” From 1962 For our bonus films, over at https://horrorbulletin.com, we have: •    “High Life” (2018), a sci-fi movie about a shipload of criminals and major isolation issues. •    “The Orphanage” (2007) a film about ghosts and missing children. Check out all our books! The Horror Guys Guide to: •    The Horror Films of Peter Cushing •    The Horror Films of Vincent Price •    Universal Studios' Shock! Theater •    Universal Studios' Son of Shock! •    Hammer Horror Films •    The Silent Age of Horror •    The Horror Films of Roger Corman •    The Horror Guys Guide To The Halloween Films (Free!) Creepy Fiction: •    A Sextet of Strange Stagings: Six Surprising Scripts •    Tales to Make You Shiver, Volumes 1 and 2 Here. We. Go! Links: •    Burnt Offerings (1976) •    Psycho II (1983) •    Short Film: Coffee (2023) •    Psycho III (1986) •    What Ever Happened to Baby Jane? (1962) And that's our show. Thanks for joining us. Stop in during the week at our website, HorrorMovieGuys.com, for news and horror updates, to comment on this podcast, or to contact us. Get ready for next week, where we'll watch four more full-lengths and a fun short film! Stay tuned! Stay tuned for more regular and bonus reviews next week! •    Email: email@horrorguys.com  •    Book Store: https://brianschell.com/collection/horrorguys •    The web: http://www.horrorguys.com •    Subscribe by email: http://horrorbulletin.substack.com •    Facebook: https://www.facebook.com/horrormovieguys •    Twitter: http://twitter.com/HorrorMovieGuys •    Theme Music by Kevin MacLeod of Incompetech.com

Threequel Trilogy, Part 2…or “Boff the Lineman”  In which our heroes obsess over Psycho III (1986). This threequel to the Hitchcock classic was the directorial debut of Norman Bates himself: Anthony Perkins.  ALSO FEATURING: Trashy pizza! Coitus interruptus! The Babylon of Psycho movies! Norman Bates goes slow dancing! You'll burn in Hell for this! Woody Woodpecker cartoons! Mother Supervisor takes a dive! Taylor does his Calvin Bouchard impression, again! AND the terror of Peter Pan Peanut Butter!!! __________ Taylor Zaccario….Host, Director, Producer, Writer Nick Zaccario….Host, Director, Producer, Editor

This week, Bede and Marcey from The Super Network take over as Lance and Nez are missing in action somewhere in Texas. Last known location: Texas Frightmare. We continue our Psycho retrospective. Cool of the Week includes MLB The Show 2023, Renfield, and John Wick Chapter 4. Trailer is The Angry Black Girl and Her Monster. The podcast spotlight shines on Plug It Up. and we get feedback from Beyond the Void, Ernest Rivas, Cameron Sullivan, Xim Vader, David Day, Stephen Lowblad, Patrick Lear, and Brandon Starocci. Thanks for listening! The Horror Returns Website: https://thehorrorreturns.com THR YouTube Channel: https://youtube.com/@thehorrorreturnspodcast3277 THR Patreon: https://www.patreon.com/thehorrorreturns THR Facebook: https://www.facebook.com/thehorrorreturns/ Join THR Facebook Group: https://www.facebook.com/groups/1056143707851246 THR Twitter: https://twitter.com/horror_returns?s=21&t=XKcrrOBZ7mzjwJY0ZJWrGA THR Instagram: https://instagram.com/thehorrorreturns?igshid=YmMyMTA2M2Y= THR TeePublic: https://www.teepublic.com/user/the-horror-returns SK8ER Nez Podcast Network: https://www.podbean.com/pu/pbblog-p3n57-c4166 E Society Spotify For Podcasters: https://podcasters.spotify.com/pod/show/esoc E Society YouTube Channel: https://youtube.com/channel/UCliC6x_a7p3kTV_0LC4S10A Music By: Steve Carleton Of The Geekz  

It's do-or-die time... sequel-wise, that is. Daily Horror Habit's Psycho series review continues with a look at Anthony Perkins' directorial debut, Psycho III! And I was lucky enough to have my long-time Twitter pal Daniel Ellis join me to unpack not only Perkins' first crack at being behind the camera but how Psycho III stands as a Psycho sequel.  Feel free to follow the show, me, and my guest on social media: DHH | Jay | Daniel

THE RE-RE-THREE-ENING: Psycho III Surprise: The Re-Re-Three-ening is here! In light of the transphobic attacks and legislation across the country, we're fundraising for the Transgender Law Center with new episodes every day until May 7...and it all kicks off today with Psycho III (1986)! Listen, watch along, share, and help us make our first goal of $1000 via the GoFundMe link on our website (gaylordsofdarkness.com) and learn more about the cause at transgenderlawcenter.org Find out more at https://gaylords-of-darkness.pinecast.co

”Psycho”! Patrik och Fredrik är tillbaka med filmen som bevisar att det ibland kan vara det läskigaste i världen när en kille i peruk kommer med kniv. Följ med oss när vi tar en djupdykning i dessa klassiska skräckfilmer och försöker förstå vad som gör och gjorde Norman Bates så, ja, psykopatisk.Dagens filmer:Psycho III (1986)Några år har gått och Norman Bates driver fortfarande Bates Motel samtidigt som han försöker hålla sina våldsamma impulser under kontroll. En dag checkar en ung kvinna vid namn Maureen in på motellet, och Norman blir förälskad i henne eftersom hon liknar hans tidigare offer, Marion Crane. Samtidigt kommer en journalist vid namn Tracy till staden för att undersöka morden och lyckas då avslöja de mörka hemligheterna från Normans förflutna.Psycho IV: The BeginningEtt radioprogram som leds av Fran Ambrose pratar om barn som mördar sina föräldrar, då ringer Norman Bates för att prata om sitt liv och händelserna som ledde honom att bli en mördare. Som tonåring börjar Norman utveckla en ohälsosam besatthet av sin mor och blir svartsjuk på varje man som försöker komma mellan dem. När Norma börjar dejta en man vid namn Chet Rudolph, blir Norman arg och dödar honom. Han försöker sedan dölja mordet genom att iscensätta det som en olycka.Skaffa Acast+ för att lyssna reklamfritt: https://plus.acast.com/s/62fa3442223bf20012ed700dBesök hemsidan: www.skrackfilmcirkeln.seFacebook: /skrackfilmcirkelnInstagram: @skrackfilmcirkelnTwitter:  @SFC_podcastPatreon: www.patreon.com/skrackfilmcirkelnMerchendise: https://www.redbubble.com/people/SFCPodcast/ Become a member at https://plus.acast.com/s/skrackfilmcirkeln. Hosted on Acast. See acast.com/privacy for more information.

It's time for one of those massive episodes. Well, it's a four parter anyways. 1986 was yet another massive year for horror movies. As well as containing those huge studio movies, exploitation cinema & indie horror was breaking through to little me, I could source all this thanks to the VHS rental shop. The underground was still rich at this point in time . But what do I think was the very greatest horror movie that came out during '86? Well, here we have the top 10. The worst 10. A slew of also rans. Some awesome mates. Some special guests. Several pints of beer and a 7+ hour running time split over 4 episodes. This is the 1986, A Year In Horror.It's a truly long journey this one, part 3 of 4 in fact. I am going to give you the time codes below so if you don't want spoilers then, please, avert your eyes.You can now support A Year in Horror via the Patreon.Theme Music by Max Newton& Lucy Foster.Email the podcast at ayearinhorror@gmail.comDon't bother following the podcast on Facebook. But feel free to...Follow me on Twitter.Follow me on Instagram.Follow me on Letterboxd.Below are the timecodes for all the different segments and my guest links. Feel free to let me know where you think I got it wrong or right and of course stay safe out there & I'll see you next month.0.00 - Trick or Treat (w/ Niki Jones)41.13 - Blue Velvet (w/ Matthew Davis-Kreye)1.06.27 - From Beyond1.12.32 - Also Rans Part 31.20.04 - The Hitcher (w/ Paul Chanter)

This week, we talk about the 1980s Marvel Cinematic Universe that could have been, and eventually was. ----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.   The Marvel Cinematic Universe is the undisputed king of intellectual property in the entertainment industry. As of February 9th, 2023, the day I record this episode, there have been thirty full length motion pictures part of the MCU in the past fifteen years, with a combined global ticket sales of $28 billion, as well as twenty television shows that have been seen by hundreds of millions of people worldwide. It is a entertainment juggernaut that does not appear to be going away anytime soon.   This comes as a total shock to many of us who grew up in the 1970s and 1980s, who were witness of cheaply produced television shows featuring hokey special effects and a roster of has-beens and never weres in the cast. Superman was the king of superheroes at the movies, in large part because, believe it or not, there hadn't even been a movie based on a Marvel Comics character released into theatres until the summer of 1986. But not for lack of trying.   And that's what we're going to talk about today. A brief history of the Marvel Cinematic Universe in the 1980s.       But first, as always, some backstory.   Now, I am not approaching this as a comic fan. When I was growing up in the 80s, I collected comics, but my collection was limited to Marvel's Star Wars series, Marvel's ROM The SpaceKnight, and Marvel's two-issue Blade Runner comic adaptation in 1982. So I apologize to Marvel comics fans if I relay some of this information incorrectly. I have tried to do my due diligence when it comes to my research.   Marvel Comics got its start as Timely Comics back in 1939. On August 31, 1939, Timely would release its first comic, titled Marvel Comics, which would feature a number of short stories featuring versions of characters that would become long-running staples of the eventual publishing house that would bear the comic's name, including The Angel, a version of The Human Torch who was actually an android hero, and Namor the Submariner, who was originally created for a unpublished comic that was supposed to be given to kids when they attended their local movie theatre during a Saturday matinee.   That comic issue would quickly sell out its initial 80,000 print run, as well as its second run, which would put another 800,000 copies out to the marketplace. The Vision would be another character introduced on the pages of Marvel Comics, in November 1940.   In December 1940, Timely would introduce their next big character, Captain America, who would find instant success thanks to its front cover depicting Cap punching Adolph Hitler square in the jaw, proving that Americans have loved seeing Nazis get punched in the face even a year before our country entered the World War II conflict. But there would be other popular characters created during this timeframe, including Black Widow, The Falcon, and The Invisible Man.   In 1941, Timely Comics would lose two of its best collaborators, artists Joe Simon and Jack Kirby, to rival company Detective Comics, and Timely owner Martin Goodman would promote one of his cousins, by marriage to his wife Jean no less, to become the interim editor of Timely Comics. A nineteen year old kid named Stanley Lieber, who would shorten his name to Stan Lee.   In 1951, Timely Comics would be rebranded at Atlas Comics, and would expand past superhero titles to include tales of crime, drama, espionage, horror, science fiction, war, western, and even romance comics.   Eventually, in 1961, Atlas Comics would rebrand once again as Marvel Comics, and would find great success by changing the focus of their stories from being aimed towards younger readers and towards a more sophisticated audience. It would be November 1961 when Marvel would introduce their first superhero team, The Fantastic Four, as well as a number of their most beloved characters including Black Panther, Carol Danvers, Iron Man, The Scarlet Witch, Spider-Man, and Thor, as well as Professor X and many of the X-Men.   And as would be expected, Hollywood would come knocking. Warner Brothers would be in the best position to make comic book movies, as both they and DC Comics were owned by the same company beginning in 1969. But for Marvel, they would not be able to enjoy that kind of symbiotic relationship. Regularly strapped for cash, Stan Lee would often sell movie and television rights to a variety of Marvel characters to whomever came calling. First, Marvel would team with a variety of producers to create a series of animated television shows, starting with The Marvel Super Heroes in 1966, two different series based on The Fantastic Four, and both Spider-Man and Spider-Woman series.   But movies were a different matter.   The rights to make a Spider-Man television show, for example, was sold off to a production company called Danchuck, who teamed with CBS-TV to start airing the show in September of 1977, but Danchuck was able to find a loophole in their contract  that allowed them to release the two-hour pilot episode as a movie outside of the United States, which complicated the movie rights Marvel had already sold to another company.   Because the “movie” was a success around the world, CBS and Danchuck would release two more Spider-Man “movies” in 1978 and 1981. Eventually, the company that owned the Spider-Man movie rights to sell them to another company in the early 1980s, the legendary independent B-movie production company and distributor, New World Pictures, founded and operated by the legendary independent B-movie producer and director Roger Corman. But shortly after Corman acquired the film rights to Spider-Man, he went and almost immediately sold them to another legendary independent B-movie production company and distributor, Cannon Films.   Side note: Shortly after Corman sold the movie rights to Spider-Man to Cannon, Marvel Entertainment was sold to the company that also owned New World Pictures, although Corman himself had nothing to do with the deal itself. The owners of New World were hoping to merge the Marvel comic book characters with the studio's television and motion picture department, to create a sort of shared universe. But since so many of the better known characters like Spider-Man and Captain America had their movie and television rights sold off to the competition, it didn't seem like that was going to happen anytime soon, but again, I'm getting ahead of myself.   So for now, we're going to settle on May 1st, 1985. Cannon Films, who loved to spend money to make money, made a big statement in the pages of the industry trade publication Variety, when they bought nine full pages of advertising in the Cannes Market preview issue to announce that buyers around the world needed to get ready, because he was coming.   Spider-Man.   A live-action motion picture event, to be directed by Tobe Hooper, whose last movie, Poltergeist, re-ignited his directing career, that would be arriving in theatres for Christmas 1986. Cannon had made a name for themselves making cheapie teen comedies in their native Israel in the 1970s, and then brought that formula to America with films like The Last American Virgin, a remake of the first Lemon Popsicle movie that made them a success back home. Cannon would swerve into cheapie action movies with fallen stars like Lee Marvin and Charles Bronson, and would prop up a new action star in Chuck Norris, as well as cheapie trend-chasing movies like Breakin' and Breakin' 2: Electric Boogaloo. They had seen enough success in America where they could start spending even bigger, and Spider-Man was supposed to be their first big splash into the superhero movie genre. With that, they would hire Leslie Stevens, the creator of the cult TV series The Outer Limits, to write the screenplay.   There was just one small problem.   Neither Stevens nor Cannon head honcho Menachem Golan understood the Spider-Man character.   Golan thought Spider-Man was a half-spider/half-man creature, not unlike The Wolf Man, and instructed Stevens to follow that concept. Stevens' script would not really borrow from any of the comics' twenty plus year history. Peter Parker, who in this story is a twenty-something ID photographer for a corporation that probably would have been Oscorp if it were written by anyone else who had at least some familiarity with the comics, who becomes intentionally bombarded with gamma radiation by one of the scientists in one of the laboratories, turning Bruce Banner… I mean, Peter Parker, into a hairy eight-armed… yes, eight armed… hybrid human/spider monster. At first suicidal, Bruce… I mean, Peter, refuses to join forces with the scientist's other master race of mutants, forcing Peter to battle these other mutants in a basement lab to the death.   To say Stan Lee hated it would be an understatement.   Lee schooled Golan and Golan's partner at Cannon, cousin Yoram Globus, on what Spider-Man was supposed to be, demanded a new screenplay. Wanting to keep the head of Marvel Comics happy, because they had big plans not only for Spider-Man but a number of other Marvel characters, they would hire the screenwriting team of Ted Newsom and John Brancato, who had written a screenplay adaptation for Lee of Sgt. Fury and His Howling Commandos, to come up with a new script for Spider-Man.   Newsom and Brancato would write an origin story, featuring a teenage Peter Parker who must deal with his newfound powers while trying to maintain a regular high school existence, while going up against an evil scientist, Otto Octavius. But we'll come back to that later.   In that same May 1985 issue of Variety, amongst dozens of pages of ads for movies both completed and in development, including three other movies from Tobe Hooper, was a one-page ad for Captain America. No director or actor was attached to the project yet, but comic book writer James L. Silke, who had written the scripts for four other Cannon movies in the previous two years, was listed as the screenwriter.   By October 1985, Cannon was again trying to pre-sell foreign rights to make a Spider-Man movie, this time at the MIFED Film Market in Milan, Italy. Gone were Leslie Stevens and Tobe Hooper. Newsom and Brancato were the new credited writers, and Joseph Tito, the director of the Chuck Norris/Cannon movies Missing in Action and Invasion U.S.A., was the new director. In a two-page ad for Captain America, the film would acquire a new director in Michael Winner, the director of the first three Death Wish movies.   And the pattern would continue every few months, from Cannes to MIFED to the American Film Market, and back to Cannes. A new writer would be attached. A new director. A new release date. By October 1987, after the twin failures of Superman IV: The Quest for Peace and Masters of the Universe, Cannon had all but given up on a Captain America movie, and downshifted the budget on their proposed Spider-Man movie. Albert Pyun, whose ability to make any movie in any genre look far better than its budget should have allowed, was brought in to be the director of Spider-Man, from a new script written by Shepard Goldman.   Who?   Shepard Goldman, whose one and only credit on any motion picture was as one of three screenwriters on the 1988 Cannon movie Salsa.   Don't remember Salsa? That's okay. Neither does anyone else.   But we'll talk a lot more about Cannon Films down the road, because there's a lot to talk about when it comes to Cannon Films, although I will leave you with two related tidbits…   Do you remember the 1989 Jean-Claude Van Damme film Cyborg? Post-apocalyptic cyberpunk martial-arts action film where JCVD and everyone else in the movie have names like Gibson Rickenbacker, Fender Tremolo, Marshall Strat and Pearl Prophet for no damn good reason? Stupid movie, lots of fun. Anyway, Albert Pyun was supposed to shoot two movies back to back for Cannon Films in 1988, a sequel to Masters of the Universe, and Spider-Man. To save money, both movies would use many of the same sets and costumes, and Cannon had spent more than $2m building the sets and costumes at the old Dino DeLaurentiis Studios in Wilmington, North Carolina, where David Lynch had shot Blue Velvet. But then Cannon ran into some cash flow issues, and lost the rights to both the He-Man toy line from Mattel and the Spider-Man characters they had licensed from Marvel. But ever the astute businessman, Cannon Films chairman Menahem Golan offered Pyun $500,000 to shoot any movie he wanted using the costumes and sets already created and paid for, provided Pyun could come up with a movie idea in a week. Pyun wrote the script to Cyborg in five days, and outside of some on-set alterations, that first draft would be the shooting script. The film would open in theatres in April 1989, and gross more than $10m in the United States alone.   A few months later, Golan would gone from Cannon Films. As part of his severance package, he would take one of the company's acquisitions, 21st Century Films, with him, as well as several projects, including Captain America. Albert Pyun never got to make his Spider-Man movie, but he would go into production on his Captain America in August 1989. But since the movie didn't get released in any form until it came out direct to video and cable in 1992, I'll leave it to podcasts devoted to 90s movies to tell you more about it. I've seen it. It's super easy to find on YouTube. It really sucks, although not as much as that 1994 version of The Fantastic Four that still hasn't been officially released nearly thirty years later.   There would also be attempts throughout the decade to make movies from the aforementioned Fantastic Four, the X-Men, Daredevil, the Incredible Hulk, Silver Surfer and Iron Man, from companies like New Line, 20th Century-Fox and Universal, but none of those would ever come to fruition in the 1980s.   But the one that would stick?   Of the more than 1,000 characters that had been featured in the pages of Marvel Comics over the course of forty years?   The one that would become the star of the first ever theatrically released motion picture based on a Marvel character?   Howard the Duck.   Howard the Duck was not your average Marvel superhero.   Howard the Duck wasn't even a superhero.   He was just some wise crackin', ill-tempered, anthropomorphic water fowl that was abducted away from his home on Duckworld and forced against his will to live with humans on Earth. Or, more specifically, first with the dirty humans of the Florida Everglades, and then Cleveland, and finally New York City.    Howard the Duck was metafiction and existentialist when neither of these things were in the zeitgeist. He smoked cigars, wore a suit and tie, and enjoy drinking a variety of libations and getting it on with the women, mostly his sometimes girlfriend Beverly.   The perfect character to be the subject of the very first Marvel movie.   A PG-rated movie.   Enter George Lucas.   In 1973, George Lucas had hit it big with his second film as a director, American Graffiti. Lucas had written the screenplay, based in part on his life as an eighteen year old car enthusiast about to graduate high school, with the help of a friend from his days at USC Film School, Willard Huyck, and Huyck's wife, Gloria Katz. Lucas wanted to show his appreciation for their help by producing a movie for them. Although there are variations to the story of how this came about, most sources say it was Huyck who would tell Lucas about this new comic book character, Howard the Duck, who piqued his classmate's interest by describing the comic as having elements of film noir and absurdism.   Because Universal dragged their feet on American Graffiti, not promoting it as well as they could have upon its initial release and only embracing the film when the public embraced its retro soundtrack, Lucas was not too keen on working with Universal again on his next project, a sci-fi movie he was calling The Journal of the Whills. And while they saw some potential in what they considered to be some minor kiddie movie, they didn't think Lucas could pull it off the way he was describing it for the budget he was asking for.   “What else you got, kid?” they'd ask.   Lucas had Huyck and Katz, and an idea for a live-action comic book movie about a talking duck.   Surprisingly, Universal did not slam the door shut in Lucas's face. They actually went for the idea, and worked with Lucas, Stan Lee of Marvel Comics and Howard's creator, Steve Gerber, to put a deal together to make it happen.   Almost right away, Gerber and the screenwriters, Huyck and Katz, would butt heads on practically every aspect of the movie's storyline. Katz just thought it was some funny story about a duck from outer space and his wacky adventures on Earth, Gerber was adamant that Howard the Duck was an existential joke, that the difference between life's most serious moments and its most incredibly dumb moments were only distinguishable by a moment's point of view. Huyck wanted to make a big special effects movie, while Katz thought it would be fun to set the story in Hawaii so she and her husband could have some fun while shooting there. The writers would spend years on their script, removing most everything that made the Howard the Duck comic book so enjoyable to its readers. Howard and his story would be played completely straight in the movie, leaning on subtle gags not unlike a Zucker/Abrahams/Zucker movie, instead of embracing the surreal ridiculousness of the comics. They would write humongous effects-heavy set pieces, knowing they would have access to their producer's in-house special effects team, Industrial Light and Magic, instead of the comics' more cerebral endings. And they'd tone down the more risqué aspects of Howard's personality, figuring a more family-friendly movie would bring in more money at the box office.   It would take nearly twelve years for all the pieces to fall into place for Howard the Duck to begin filming. But in the spring of 1985, Universal finally gave the green light for Lucas and his tea to finally make the first live-action feature film based on a Marvel Comics character.   For Beverly, the filmmakers claimed to have looked at every young actress in Hollywood before deciding on twenty-four year old Lea Thompson, who after years of supporting roles in movies like Jaws 3-D, All the Right Moves and Red Dawn, had found success playing Michael J. Fox's mother in Back to the Future. Twenty-six year old Tim Robbins had only made two movies up to this point, at one of the frat boys in Fraternity Vacation and as one of the fighter pilots in Top Gun, and this was his first chance to play a leading role in a major motion picture. And Jeffrey Jones would be cast as the bad guy, the Dark Overlord, based upon his work in the 1984 Best Picture winner Amadeus, although he would be coming to the set of Howard the Duck straight off of working on a John Hughes movie, Ferris Bueller's Day Off.   Howard the Duck would begin shooting on the Universal Studios lot of November 11th, 1985, and on the very first day of production, the duck puppet being used to film would have a major mechanical failure, not unlike the mechanical failure of the shark in Jaws that would force Steven Spielberg to become more creative with how he shot that character. George Lucas, who would be a hands-on producer, would suggest that maybe they could shoot other scenes not involving the duck, while his crew at ILM created a fully functional, life-sized animatronic duck costume for a little actor to wear on set. At first, the lead actor in the duck suit was a twelve-year old boy, but within days of his start on the film, he would develop a severe case of claustrophobia inside the costume. Ed Gale, originally hired to be the stuntman in the duck costume, would quickly take over the role. Since Gale could work longer hours than the child, due to the very restrictive laws surrounding child actors on movie and television sets, this would help keep the movie on a good production schedule, and make shooting the questionable love scenes between Howard and Beverly easier for Ms. Thompson, who was creeped out at the thought of seducing a pre-teen for a scene.   To keep the shoot on schedule, not only would the filmmakers employ a second shooting unit to shoot the scenes not involving the main actors, which is standard operating procedure on most movies, Lucas would supervise a third shooting unit that would shoot Robbins and Gale in one of the film's more climactic moments, when Howard and Phil are trying to escape being captured by the authorities by flying off on an ultralight plane. Most of this sequence would be shot in the town of Petaluma, California, on the same streets where Lucas had shot American Graffiti's iconic cruising scenes thirteen years earlier.   After a month-long shoot of the film's climax at a naval station in San Francisco, the film would end production on March 26th, 1986, leaving the $36m film barely four months to be put together in order to make its already set in stone August 1st, 1986, release date.   Being used to quick turnaround times, the effects teams working on the film would get all their shots completed with time to spare, not only because they were good at their jobs but they had the ability to start work before the film went into production. For the end sequence, when Jones' character had fully transformed into the Dark Overlord, master stop motion animator Phil Tippett, who had left ILM in 1984 to start his own effects studio specializing in that style of animation, had nearly a year to put together what would ultimately be less than two minutes of actual screen time.   As Beverly was a musician, Lucas would hire English musician and composer Thomas Dolby, whose 1982 single She Blinded Me With Science became a global smash hit, to write the songs for Cherry Bomb, the all-girl rock group lead by Lea Thompson's Beverly. Playing KC, the keyboardist for Cherry Bomb, Holly Robinson would book her first major acting role. For the music, Dolby would collaborate with Allee Willis, the co-writer of Earth Wind and Fire's September and Boogie Wonderland, and funk legend George Clinton. But despite this powerhouse musical trio, the songs for the band were not very good, and, with all due respect to Lea Thompson, not very well sung.   By August 1986, Universal Studios needed a hit. Despite winning the Academy Award for Best Picture in March with Sydney Pollack's Out of Africa, the first six films they released for the year were all disappointments at the box office and/or with the critics.    The Best of Times, a comedy featuring Robin Williams and Kurt Russell as two friends who try to recreate a high school football game which changed the direction of both their lives. Despite a script written by Ron Shelton, who would be nominated for an Oscar for his next screenplay, Bull Durham, and Robin Williams, the $12m film would gross less than $8m.    The Money Pit, a comedy with Tom Hanks and Shelley Long, would end up grossing $37m against a $10m budget, but the movie was so bad, its first appearance on DVD wouldn't come until 2011, and only as part of a Tom Hanks Comedy Favorites Collection along with The ‘Burbs and Dragnet.   Legend, a dark fantasy film directed by Ridley Scott and starring Tom Cruise, was supposed to be one of the biggest hits… of 1985. But Scott and the studio would fight over the film, with the director wanting them to release a two hour and five minute long version with a classical movie score by Jerry Goldsmith, while the studio eventually cut the film down an hour and twenty-nine minutes with a techno score by Tangerine Dream. Despite an amazing makeup job transforming Tim Curry into the Lord of Darkness as well as sumptuous costumes and cinematography, the $24.5m film would just miss recouping its production budget back in ticket sales.   Tom Cruise would become a superstar not three weeks later, when Paramount Pictures released Top Gun, directed by Ridley's little brother Tony Scott.   Sweet Liberty should have been a solid performer for the studio. Alan Alda, in his first movie since the end of MASH three years earlier, would write, direct and star in this comedy about a college history professor who must watch in disbelief as a Hollywood production comes to his small town to film the movie version of one of the books. The movie, which also starred Michael Caine, Bob Hoskins, Michelle Pfieffer and screen legend Lillian Gish, would get lost in the shuffle of other comedies that were already playing in theatres like Ferris Bueller and Short Circuit.   Legal Eagles was the movie to beat for the summer of 1986… at least on paper. Ivan Reitman's follow-up film to Ghostbusters would feature a cast that included Robert Redford, Debra Winger and Daryl Hannah, along with Brian Denny, Terence Stamp, and Brian Doyle-Murray, and was perhaps too much movie, being a legal romantic comedy mystery crime thriller.   Phew.   If I were to do an episode about agency packaging in the 1980s, the process when a talent agency like Creative Artists Agency, or CAA, put two or more of their clients together in a project not because it might be best for the movie but best for the agency that will collect a 10% commission from each client attached to the project, Legal Eagles would be the example of packaging gone too far. Ivan Reitman was a client of CAA. As were Redford,  and Winger, and Hannah. As was Bill Murray, who was originally cast in the Redford role. As were Jim Cash and Jack Epps, the screenwriters for the film. As was Tom Mankewicz, the co-writer of Superman and three Bond films, who was brought in to rewrite the script when Murray left and Redford came in. As was Frank Price, the chairman of Universal Pictures when the project was put together. All told, CAA would book more than $1.5m in commissions for themselves from all their clients working on the film.   And it sucked.   Despite the fact that it had almost no special effects, Legal Eagles would cost $40m to produce, one of the most expensive movies ever made to that point, nearly one and a half times the cost of Ghostbusters. The film would gross nearly $50m in the US, which would make it only the 14th highest grossing film of the year. Less than Stand By Me. Less than The Color of Money. Less than Down and Out in Beverly Hills.   And then there was Psycho III, the Anthony Perkins-directed slasher film that brought good old Norman Bates out of mothballs once again. An almost direct follow-up to Psycho II from 1983, the film neither embraced by horror film fans or critics, the film would only open in eighth place, despite the fact there hadn't been a horror movie in theatres for months, and its $14m gross would kill off any chance for a Psycho IV in theatres.   In late June, Universal would hold a series of test screenings for Howard the Duck. Depending on who you talk to, the test screenings either went really well, or went so bad that one of the writers would tear up negative response cards before they could be given to the score compilers, to goose the numbers up, pun only somewhat intended. I tend to believe the latter story, as it was fairly well reported at the time that the test screenings went so bad, Sid Sheinberg, the CEO of Universal, and Frank Price, the President of the studio, got into a fist fight in the lobby of one of the theatres running one of the test screenings, over who was to blame for this impending debacle.   And a debacle it was.   But just how bad?   So bad, copywriters from across the nation reveled in giddy glee over the chances to have a headline that read “‘Howard the Duck' Lays an Egg!”   And it did.   Well, sort of.   When it opened in 1554 theatres on August 1st, the film would gross $5.07m, the second best opener of the weekend, behind the sixth Friday the 13th entry, and above other new movies like the Tom Hanks/Jackie Gleason dramedy Nothing in Common and the cult film in the making Flight of the Navigator. And $5m in 1986 was a fairly decent if unspectacular opening weekend gross. The Fly was considered a massive success when it opened to $7m just two weeks later. Short Circuit, which had opened to $5.3m in May, was also lauded as being a hit right out of the gate.   And the reviews were pretty lousy. Gene Siskel gave the film only one star, calling it a stupid film with an unlikeable lead in the duck and special effects that were less impressive than a sparkler shoved into a birthday cake. Both Siskel and Ebert would give it the dreaded two thumbs down on their show. Leonard Maltin called the film hopeless. Today, the film only has a 14% rating on Rotten Tomatoes with 81 reviews.   But despite the shellacking the film took, it wouldn't be all bad for several of the people involved in the making of the film.   Lea Thompson was so worried her career might be over after the opening weekend of the film, she accepted a role in the John Hughes movie Some Kind of Wonderful that she had turned down multiple times before. As I stated in our March 2021 episode about that movie, it's my favorite of all John Hughes movies, and it would lead to a happy ending for Thompson as well. Although the film was not a massive success, Thompson and the film's director, Howard Deutch, would fall in love during the making of the film. They would marry in 1989, have two daughters together, and as of the writing of this episode, they are still happily married.   For Tim Robbins, it showed filmmakers that he could handle a leading role in a movie. Within two years, he would be starring alongside Kevin Costner and Susan Sarandon in Bull Durham, and he career would soar for the next three decades.   And for Ed Gale, his being able to act while in a full-body duck suit would lead him to be cast to play Chucky in the first two Child's Play movies as well as Bride of Chucky.   Years later, Entertainment Weekly would name Howard the Duck as the biggest pop culture failure of all time, ahead of such turkeys as NBC's wonderfully ridiculous 1979 show Supertrain, the infamous 1980 Western Heaven's Gate, Warren Beatty and Dustin Hoffman's Ishtar, and the truly wretched 1978 Bee Gees movie Sgt. Pepper's Lonely Hearts Club Band.   But Howard the Duck, the character, not the movie, would enjoy a renaissance in 2014, when James Gunn included a CG-animated version of the character in the post-credit sequence for Guardians of the Galaxy. The character would show up again in the Disney animated Guardians television series, and in the 2021 Disney+ anthology series Marvel's What If…   There technically would be one other 1980s movie based on a Marvel character, Mark Goldblatt's version of The Punisher, featuring Dolph Lundgren as Frank Castle. Shot in Australia in 1988, the film was supposed to be released by New World Pictures in August of 1989. The company even sent out trailers to theatres that summer to help build awareness for the film, but New World's continued financial issues would put the film on hold until April 1991, when it was released directly to video by Live Entertainment.   It wouldn't be until the 1998 release of Blade, featuring Wesley Snipes as the titular vampire, that movies based on Marvel Comics characters would finally be accepted by movie-going audiences. That would soon be followed by Bryan Singer's X-Men in 2000, and Sam Raimi's Spider-Man in 2002, the success of both prompting Marvel to start putting together the team that would eventually give birth to the Marvel Cinematic Universe we all know and love today.   Thank you for joining us. We'll talk again soon, when Episode 102, the first of two episodes about the 1980s distribution company Vestron Pictures, is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Howard the Duck, and the other movies, both existing and non-existent, 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.

After an extended holiday hiatus, cohosts Dino and Mike are back on the mics to close off Season 3 before they bid the concepts of seasons farewell due to their inability to properly count in I Eat Movies #30: Mike's First Time - Inside Moves (1980). Honoring the late Richard Donner, Mike and Dino examine a more intimate, character driven opus from the man behind Superman: The Movie and the Lethal Weapon films that he hailed as his personal favorite amongst all his features. A notable black sheep in a sea of bigger-budgeted studio fare, John Savage (The Deer Hunter) stars as a broken man who unsuccessfully attempts suicide only to find new purpose through the regulars of a local bar and a best friend in a bartender (David Morse, The Green Mile) with ambitions of becoming a pro basketball player. Pride, loyalty, friendship and the concept of community are all discussed in this virtually forgotten opus co-written by Barry Levinson (Diner, Rain Man) and Valerie Curtin (And Justice for All, Best Friends) and co-starring Diana Scarwind (Mommie Dearest, Psycho III) who was nominated for a Best Supporting Actress Oscar for her role.

Carter Burwell is one of the most iconic auteur composers working today, whose sound is instantly recognizable from the first few notes you hear. Carter's unique voice also attracts unique filmmakers from the Coen brothers, Spike Jonze, and of course Martin McDonagh. For this interview we focus heavily on the work Carter has done with McDonagh with In Bruges, Seven Psychopaths, Three Billboards Outside Ebbing Missouri, and The Banshees Of Inisherin. Before we dive into Carter's scores for McDonagh, we take a look back at Thick Pigeon. Carter recounts stories of how he and Stanton Miranda formed Thick Pigeon as a musical group that came onto the NYC music scene before Carter was pulled into the world of film composition. Carter reflects back on his early career a bit, and how he ended up scoring films like Psycho III and Blood Simple. As we dive into McDonagh's films, Carter takes us into his approach for The Banshees Of Inisherin and how the score's simple approach and sound was settled upon. We also touch upon his absolutely unique a cappella inspired score he did for Lena Dunham's Catherine Called Birdy. Carter also talks about what he has coming up in the future including re-teaming with Ethan Coen, who is currently in post production with his next film. It's been a few years since we had Carter as a guest, and it's always a massive treat to get to hear all of Carter's wonderful insights. A Film.Music.Media Interview | Produced & Presented by Kaya Savas  

Get ready for the most random movie selection and one of the most bonkers pairings of movies we've done so far on Movies for Life! We are both big horror fans and we really haven't talked about THAT much horror on the show, so we came up with this random episode for that strange in-between time after Thanksgiving and before Christmas. So today we are talking about some often maligned horror sequels that we both actually really dig! First up is Brian's pick of the directorial debut of Anthony Perkins, a sequel to the movie that made him famous forever - PSYCHO III from 1986! We both think it's still just as good as the first sequel, PSYCHO II, if not a bit sleazy (but we're okay with that). And speaking of even more sleaze, the next movie to discuss is Michele's choice of 1985's FRIDAY THE 13th PART V: A NEW BEGINNING, directed by Danny Steinmann! It may not have Jason but it has Michele's favorite kill of the whole franchise and Brian's favorite character of the whole franchise! So listen to this fun and animated discussion to find out what those are! Follow us now on Instagram! Movies for Life: @MovieLifePod Brian Keiper: @brianwaves42 Michele Eggen: @micheleeggen

The second part of our Psycho retrospective begins with a dive into Psycho III and Psycho IV, and you won't believe what comes after that! Was Jason Bateman in a Psycho movie? What was Gus Van Sant thinking with that remake? And Norman Bates in....a sitcom? Join us on THE HYPER SPACE as we grab our butcher knives and start peeling this Psycho onion! You won't believe what we find!  

Welcome to Out of the Shadows, a series that dives into the world of (mostly) 80s horror movies. Join Chris Chavez and Jim Clark as they explore the best and worst of what made the 80s the golden age of horror. On this episode, Chris and Jim return to 1986 and the Bates Motel as they watch Psycho III, directed by and starring Anthony Perkins. The third installment sees Norman doing his best to fight off the voices of the past, but when new people enter his life, old urges are reawakened.

On October 29 2022, I went to the Coolidge Corner Theater Halloween Horror Marathon in Brookline, MA. All the films were vampire themed and on 35mm film. Joining the pod on location: special guest Steve! Lastly, Psycho III - is it any good?

Writer Charles Edward Pogue

Mother's off her rocker again! For the third episode in the series, Daniel and Cris are joined by Robb Antequera (The Cinema Drunkie) to dive into the first movie in the series that jumps into '80s slasher sleaze. It's Psycho III! Email the show at cobwebspodcast@gmail.com to let us know what you think of the movie and/or the show! You Could've Been A Bloodfist Movie Podcast   Inside the Sequel Podcast   Cobwebs on Twitter: @cobwebspod Daniel on Twitter: @eplerdaniel    Cris on Twitter: @HurTastic_Cris Daniel on Letterboxd: @Dan_Epler Robb on Twitter: @TheCineDrunkie www.cobwebspodcast.com

We're headed back to the Bates Motel, maniacs, as we continue our Vicious Vacations III theme for the month of August with the Anthony Perkins-directed Psycho III from 1986! While we dig back into the saga of Norman Bates, we also discuss topics such as peanut butter and crackers, cult film director cameos, and Big Milk makes another incendiary appearance on our show.

Welcome back to the Bates Motel. On tonight's episode our Psycho series continues as we hire on a drifter, fall in love with a suicidal nun, and deal with a nosy reporter in Psycho III (1986). We are also haunted by the demonic Vecna in Stranger Things S4 (2022), get into sexual shenanigans during our […]

The events of Psycho III take place not long after Psycho II, as Norman Bates (Anthony Perkins), still the sole caretaker of the Bates Motel, ends up hiring a temporary new assistant in the wily rogue musician who goes by the name of Duane Duke (Jeff Fahey). He also has a new patron staying in cabin #1, a spiritually faltering (and suicidal) former nun with an uncanny resemblance, not to mention the same initials, of victim Marion Crane, Maureen Coyle (Diana Scarwid). Norman is intensely attracted to Maureen, and the feeling is perhaps mutual, but with jealous Mother Bates always dictating Norman's actions, that doesn't bode well for her longevity. Meanwhile, tenacious reporter Tracy Venable (Tracy Maxwell) is trying to discover the whereabouts of a missing woman and is sure that she must have met her fate with Norman, though Sheriff Hunt (Hugh Gillin) thinks it another case of people just out to pick on poor Norman for his past transgressions. Anthony Perkins directs.

Shane Bettenhausen previously graced this podcast to subject me to the awfulness that is The Apple. But he redeems himself today to talk about not one, but two, very good movies - the much belated sequels to Alfred Hitchcock's Psycho! Are they as good as the original? Of course not, but they're both damn fine films that you need to see. We discuss how these fascinating films got made, and go over them in gory detail, so spoilers abound! Make sure you see the movies before you listen to this one!

We're kicking off a new sub-series called Bastard Child Sequels! These are the movies generally considered the "duds" of franchises.. but are they deserving of that name? Amber and Mike tackle the first of this series with 1986's PSYCHO III - directed by the late, great Anthony Perkins himself. 

Ballsac joins us to celebrate Willis birthday

Here are the movie clips of the 1986 horror & thriller movie, Psycho III, based on the real-life serial killer, Ed Gein! *Happy 35th anniversary* Plot: Former mental patient Norman Bates (Anthony Perkins) is once again operating his infamous motel. Assisted by the shifty Duane Duke (Jeff Fahey), Norman keeps up the semblance of being sane and ordinary, but he still holds on to some macabre habits. Eventually, Norman becomes interested in Maureen Coyle (Diana Scarwid), a troubled tenant who's been staying on a long-term basis and reminds him of someone from his past. As Norman and Maureen begin a relationship, can he keep his demons in check? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Here's the full movie of the 1986 horror & thriller movie, Psycho III, based on the real-life serial killer, Ed Gein! Happy 35th anniversary! Plot: Former mental patient Norman Bates (Anthony Perkins) is once again operating his infamous motel. Assisted by the shifty Duane Duke (Jeff Fahey), Norman keeps up the semblance of being sane and ordinary, but he still holds on to some macabre habits. Eventually, Norman becomes interested in Maureen Coyle (Diana Scarwid), a troubled tenant who's been staying on a long-term basis and reminds him of someone from his past. As Norman and Maureen begin a relationship, can he keep his demons in check? --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In our third episode of The Dark Parade, we find Norman Bates up to his old tricks as he attempts to redeem a nun, survive Jeff Fahey, and deal with a crowd of guests in for a Homecoming game. I’m sure Mother won’t mind the ruckus at all. Thanks to Dan Chase for joining me for this terrific discussion! You can find more from Dan Chase at Cut to the Chase for more! You can join the discussion live on Sundays at 5pm CST at YouTube.com/LegionPodcasts and you can subscribe to the podcast on iTunes here, Stitcher, Spotify, Amazon Music and Audible, iHeartRadio, Podchaser, Google Podcasts, and anywhere fine podcasts are found! You can find all the episodes right here and say hello on Facebook or Twitter! The post The Dark Parade #3: Psycho III first appeared on Legion.

Join us for the feature directorial debut of Anthony Perkins...Psycho III. How does this entry stack up? Norman Bates falls in love with a fallen nun who stays at the Bates Motel alongside a drifter and a curious reporter. Meanwhile, "Mother" is still watching. Unlock the terror. Unlock the fear. And enter into the all new nightmare of... Norman Bates is back to normal. But Mother's off her rocker again! Just when you thought it was safe to go back into the shower! Norman Bates is back home with Mother again! The most shocking of them all.

Listen as Mike and Tom discuss the 1986 sequel Psycho III. They discuss the overt religious aspects of this movie, Anthony Perkins ability as a director, the multiple personalities of Jeff Fahey's character Duke and how happy they are to see Norman stuffing birds again.

Welcome to Episode 16 of Journey with a Cinephile: A Horror Movie Podcast. On this episode, I have featured reviews of After Midnight (2019) and Abby (1974). Also mini-reviews of Psycho III (1986), VFW (2019), Dr. Jekyll and Mr. Hyde (1912) and Best Worst Movie (2009). I hope you enjoy coming on this journey with me! Time Codes: Intro: 0:00 - 1:53 Lisa Loeb - Stay: 1:53 - 4:54 Mini-Reviews: 4:54 - 37:55 After Midnight Trailer: 37:55 - 39:27 After Midnight Non-Spoiler: 39:27 - 48:13 After Midnight Spoiler: 48:13 - 49:58 Abby Trailer: 49:58 - 51:00 Abby Review: 51:00 - 1:01:44 Aretha Franklin - Don't Play the Song: 1:01:44 - 1:04:41 Outro: 1:04:41 - 1:05:58 Social Media: Email: journeywithacinephile@gmail.com Reviews of the Dead Link: https://horrorreview.webnode.com/ Facebook: https://www.facebook.com/dgarrettjr Twitter: https://www.twitter.com/buckeyefrommich Letterboxd: https://letterboxd.com/davidosu/ Instagram: davidosu87 Flick Chat: journeywithacinephile