Podcasts about Rumble Fish

PUBLIC VERSION. Criterion Collection producer Curtis Tsui (RUMBLE FISH, GODZILLA VS BIOLANTE, many others) joins Joe to discuss his 20 year long career creating amazing special edition releases of some of the most notable films of all time. From how he first found his love for cinema while in school to become a doctor… to how he got the gig as a producer at Criterion decades ago… to what it takes to create some of the great features included with each release… to the importance of establishing a relationship with filmmakers… to the art of a great commentary track… to shooting in the Kubrick house for BARRY LYNDON… to the most challenging title he has worked on and the film he's most proud to have contributed to… to the viral sensation known as “The Criterion Closet” and how it became a go-to stop for working artists… if you were ever interested in the process of making a title in the Criterion Collection (or just want to hear Curtis and Joe geek out for 2 hours), this conversation is a must listen! 

Anya chats with industry veteran Tyson Reimer about his upcoming fish-and-chips (and more) shop in Hastings Sunrise, the ethics of eating octopus and Humboldt squid, the novels of S.E. Hinton, simple food done well, and more. And later, Patricia Massy of Massy Books talks about tariffs, Indigenous authors, and pivoting in the face of another potential economic crisis for the publishing industry.

Hoy, desde la XI edición de SACO, la semana del Audiovisual Contemporáneo de Oviedo. Con Mario Cobo, autor de la música de uno de los cine conciertos programados en el Teatro Campoamor, a partir de Rumble Fish de Coppola. Sabrina Clemente, directora de la Alianza Francesa de Oviedo, que colabora con propuestas de cine inmersivo y LASEMA, programa de cortometrajes para centros educativos. Y con Carlos Losilla, coordinador del ciclo Historia(s) del cine eruopeo en los siglos XX-XXI, que vertebra la SemanaEscuchar audio

Join our eclectic panel as we embark on a vibrant discussion about creativity, art, and pop culture. We kick-start the conversation with a dive into the world of comic book creation, hearing firsthand experiences from an artist on the brink of releasing his latest comic. From art techniques to the inspiration behind creating unique characters, this segment is a treasure trove for aspiring creatives. The talk quickly shifts gears to nostalgic reflections as we celebrate the 40th anniversary of the classic film, "The Goonies." Shared experiences of watching this beloved movie in modern theaters evoke both fond memories and humorous observations about its enduring appeal across generations. Our cultural deep dive continues as we explore popular TV series and movies – including insights into "Castlevania Nocturne," the live-action potential of "Bad Batch," and recommendations for "Rumble Fish," a Francis Ford Coppola gem. We also delve into the realms of fantasy and sci-fi, tackling everything from "Star Wars" series comparisons to anime influences in Western storytelling. Follow us for more: Instagram & Twitter: @3geekspodcast Email: 3geekspodcast@gmail.com #3GeeksPodcast #CastlevaniaNocturne #Goonies40Years #NobodyWantsThis #NortonFurniture #StarWars #BadBatch #SkeletonCrew #Superman #PopCulture #GeekTalk

In attesa dell'uscita di Megalopolis, in questa puntata esploriamo la carriera cinematografica di Francis Ford Coppola, analizzando tre dei suoi film più rappresentativi degli anni '80: Un sogno lungo un giorno [One from the Heart, 1982], I ragazzi della 56a strada [The Outsiders, 1983] e Rusty il selvaggio [Rumble Fish,1983]. Scopriamo l'evoluzione del suo stile e le tematiche ricorrenti in un decennio di grande trasformazione per il regista.

On Today's Show Vince will Rate and Review: The Conversation (1974),  Apocalypse Now (1979),  Rumble Fish (1983),  The Rainmaker (1997),  Megalopolis (2024)   If you'd like to donate and become a Producer, or see more movie reviews, check out thedailyratings.com   TimeCodes: The Conversation:  6:54 Apocalypse Now:  21:16 Rumble Fish:  50:15 The Rainmaker 1:03:24 Megalopolis:  1:18:00

Borneo 1834 by Serge Lutens (2005) + S.E. Hinton's The Outsiders (1967) and Rumble Fish (1975) + Francis Ford Coppola's The Outsiders (1983) and Rumble Fish (1983) with Scout Dixon West of Low Pony 5/12/23 S5E38 To hear the complete continuing story of The Perfume Nationalist please subscribe on Patreon. 

James Joyce ha avuto una punk band con Jim Carroll? Perchè Mickey Rourke in Rumble Fish non è riuscito a vedere l'oceano? È possibile svegliare una persona che sta sognando? In questo episodio di Fuori Orario Not Another Podcast, Daria Moretti e Luca Villa parlano per oltre un'ora del quarto album in studio dei Fontaines D.C., l'attesissimo Romance. Da oggi puoi diventare un sostenitore di questo podcast. Come? Vai su https://www.patreon.com/fuoriorariopodcast per tutte le info. A questo link⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://amzn.to/3z2wJPH trovi invece la musica, i film e i libri dei quali si parla in questo podcast.

This week, P.T.August continues with P.T.A.'s most recent output, and for the second time this year we're joined once again by the people's champion Matt Pollock to talk about a movie he has been smitten with since its COVID-era theatrical release: it's 2021's Licorice Pizza, written and directed by Paul Thomas Anderson, and starring Alana Haim, Cooper Hoffman, Sean Penn, Tom Waits, Bradley Cooper, Benny Safdie, Skyler Gisondo, Mary Elizabeth Ellis, Harriet Sansom Harris, and the entire Haim family. A collection of mostly true stories from 1970s L.A. embued with the golden glow of Anderson's own That One Summer childhood nostalgia, its led by two extremely winning performances from a pair of actors both making their big screen debuts. While not without its controversies, it's a dreamlike hazy hangout movie we all loved quite a lot. If you'd like to watch the film before listening along to our discussion, Licorice Pizza is currently streaming in Canada on Crave and across the globe on the Criterion Channel at the time of publication. Other works referenced in this episode include Twisters, Targets, Scanners, Kim's Video, Michael Clayton, Saturday Night, The Ladies Man, Coneheads, It's Pat, Rebel Ridge, Hold The Dark, Green Room, Blue Ruin, Clueless, Dazed and Confused, Wild Wild West, An Evening With Kevin Smith, A Star Is Born, Maestro, Warrior, Are You There God? It's Me, Margaret, The Curse, Good Time, Coffee and Cigarettes, Down By Law, Rumble Fish, The Outsiders, The Ballad of Buster Scruggs, Mystery Men, Domino, Seven Psychopaths, Special When Lit, Pinball: The Man Who Saved The Game, and Once Upon a Time in Hollywood..., among countless others. We'll be back next week with more P.T.August as Travis Woloshyn joins the two-timer club, returning to talk another fumblingly comic detective noir as we watch Joaquin Phoenix and Katherine Waterston in 2014's Inherent Vice! Which is shockingly not currently streaming, at least not in Canada, so... good luck. Try the library! Until then, we'll see you at the movies!!

***VOTE NOW OR DIE*** VOTING FOR THE APVA AWARDS CLOSES SOON AND WE'RE IN LINE FOR BEST MUSIC PODCAST. VOTE TODAY AND WIN A JAR OF MILLI VANILLI TEARS. https://apva.africa/?fluent-form=26 Paulo and Dori mention two separate 80s celebs' nipples before we hit the three-minute mark… It's going to be one of those shows. We start on a slip-slioppery slope before adopting the mantra WWJLD—What Would Johnny Lawrence Do? We ask whether you would buy pants from Brooke Shields or would you prefer her genes. We talk about "Jacked" Gyllenhaal in the Roadhouse remake, question if Kevin Bacon was all that, and Paulo hits a literal low with his movie of the week. Breakdancing and Flava Flav bring the 80s to the Olympics and can Paulo guess Dori's star sign based on her favourite 80s movies? Mentions: Voting for the African Podcast and Voiceover Awards: "00:02:51" Psychology Today: "00:17:16" Plex: "00:26:05" IMDb: "00:30:35" Rotten Tomatoes: "00:35:51" Zwift: "00:37:05" Google Image Search: "00:45:37" BuzzFeed Quiz: "00:56:19" Cobra Kai: "00:05:35" Brooke Shields in "Blue Lagoon": "00:15:57" Blue Lagoon: "00:17:09" Roadhouse: "00:19:59" Southpaw: "00:25:10" Secretary: "00:27:07" Quicksilver: "00:32:34" Dorrie the Brat Pack Documentary: "00:39:03" Rumble Fish: "00:39:31" Searching for Wangwang: "00:46:32" For Your Height Only: "00:44:06" The Impossible Kid: "00:51:00" Searching for Wangwang: "00:52:16" For Your Height Only: "00:52:54" The Breakfast Club: "00:56:54" Dirty Dancing: "00:57:08" Die Hard: "00:57:24" Dead Poets Society: "00:57:41" The Shining: "00:58:15

***VOTING IS STILL OPEN - HELP THIS SHOW DEFEND IT'S APVA CROWN : VOTE HERE: https://apva.africa/?fluent-form=26 AI has rebranded this show and Paulo and Dori both get Rick Rolled in separate incidents. Paulo may or may not be chatting to Thomas Anders so join us for the first instalment of "The Ballad of Bernd Weidung''. We explore the origins of 80s slang, get tricked by some Australians and wrap up with a silly little 80s Billy. References: "Voting Link for African Podcast and Voice Services Association Awards": "00:02:17" "Article about 80s songs": "00:21:31" "Breakdown of 80s idioms and slang": "00:21:48" "Time Bandits (1981)": "00:28:27" "Naked Gun (upcoming movie)": "00:30:03" "Cobra Kai (Netflix series)": "00:31:23" "Transformers (animated series)": "00:34:55" "Crocodile Dundee (upcoming movie)": "00:35:19" "Tourism Australia Ad": "00:36:48" "Search Engine Podcast": "00:38:15" "That Eddie Show Facebook Page": "00:57:42" "Couch Potato Handbook": "00:25:58" "Rumble Fish": "00:44:34" "The Outsiders": "00:44:34" "Where the Wild Things Are": "00:51:16" "Charlie and the Chocolate Factory": "00:50:14" "The Giving Tree": "00:52:10" "Sport Billy (Comic Books)": "00:53:39" ""Never Gonna Give You Up" by Rick Astley": "00:09:04" "Interview with Thomas Anders": "00:12:50" "Beetlejuice (sequel trailer)": "00:28:14" "Time Bandits (remake trailer)": "00:28:27" "Crocodile Dundee (trailer)": "00:35:27" "Sport Billy Opening Theme": "00:55:38" "Thomas Anders": "00:58:06" #That Eddie Show, #George Michael, #Careless Whisper, #music podcast, #online interactions, #rickrolled, #Rick Astley, #inheritance issues, #George Michael's sister, #EP, #LP, #African Podcast and Voice Services Association Awards, #Best Music Podcast, #podcast community, #Thomas Anders, #80s slang, #Time Bandits, #Taika Waititi, #Naked Gun, #Karate Kid, #Tron, #Jared Leto, #Crocodile Dundee, #Rumble Fish, #Francis Ford Coppola, #children's literature, #Sport Billy, #Olympics, #nostalgia, #80s culture, #Berghain, #techno music, #Australian stars, #movie recommendations, #problematic children's books, #cultural significance, #humor, #personal anecdotes, #pop culture references, #social media engagement, #podcast format, #playful banter, #memorable characters, #imaginative childhood, #merchandise, #community support.

Director Francis Ford Coppola

Hello bikers and bikettes (?), we've got a juicy new show for you filled with artsy black and white audio recording and symbolism. It's Dalton's host pick week, and he picked us a doozy in Francis Ford Coppola's Rumble Fish. Shot in conjunction with The Outsiders, Rumble Fish is another pairing from S.E. Hinton and Coppola. We talk black and white photography, philosophy, teenage angst, and much more as we break open this Coppola B-Side. Join us now! TIMESTAMPS 00:30 - Introductions and Synopsis 03:28 - Quick Rumble Fish Reviews 17:56 - Expanding the Syllabus 30:06 - Analysis 49:04 - Shelf or Trash 50:24 - Wrap Up and Next Week's Film

“The Motorcycle Boy Reigns” as our kick arrives at “Rumble Fish” (1983). It's not set on the highway, but perhaps no movie in this kick uses the idea of the motorcycle rebel to such cool, elusive effect as Francis Ford Coppola's dreamlike crime drama, starring a young Mickey Rourke. Ray Gill Jr. (Portland Mercury, Willamette Week) is here to explain why “Rumble Fish” is his favorite film, why Matt Dillon used to scare him, and why insanity is intoxicating, plus primo tales of growing up in a video store.

https://youtube.com/live/YyKsnl_D6Ps?feature=share The Police are set to release a 6CD super deluxe edition of their acclaimed 1983 album, Synchronicity. This extensive reissue includes a wealth of previously unheard alternate takes, outtakes, and demos. As their fifth and final studio album, Synchronicity features hit singles such as "Every Breath You Take," "Wrapped Around Your Finger," "King of Pain," and "Synchronicity II." The album has sold 15 million copies globally, with 8.5 million in the USA alone. This reissue project, which took three years to complete, was created with the band's involvement and endorsement. It includes a 60-page hardcover book with comprehensive new sleeve notes by music journalist Jason Draper, detailing the album's creation and history. The box set contains: CD1: The original album, including "Murder By Numbers," remastered from the original tapes. CD2: 18 tracks featuring all original 7" / 12" B-sides plus 11 exclusive non-album bonus tracks, available on CD for the first time. CD3 and CD4: Previously unreleased alternate takes of all the Synchronicity songs. CD4 also includes unreleased Police tracks, such as an early version of Andy Summers' "Goodbye Tomorrow" (later renamed "Someone To Talk To"), a demo of Stewart Copeland's "I'm Blind" (later "Brothers on Wheels" for the Rumble Fish soundtrack), a first take of "Truth Hits Everybody," and rare covers of Eddie Cochran's "Three Steps To Heaven" and Chuck Berry's "Rock and Roll Music." CD5 and CD6: 19 previously unreleased live recordings from the September 10, 1983, concert at the Oakland-Alameda Coliseum, USA. The 6CD box also includes four art prints. Additional formats include a 2CD set (repeating the first two discs of the super deluxe edition), a 4LP vinyl edition (42 tracks), and a vinyl picture disc with a revised track order. #thepolice #Synchronicity #sting #stewartcopeland #andysummers #johnnybeaneTV

In this episode we discuss three films from Francis Ford Coppola, One from the Heart, Rumble Fish, and Bram Stoker's Dracula. Link is below for all our social media. https://linktr.ee/silverscreenvideo Thanks for stopping by. Feel free to email at silverscreenvideopodcast@gmail.com with any comments or thoughts. Also be sure to follow us on Instagram @silverscreenvideopodcast or Twitter @SilverVideo --- Send in a voice message: https://podcasters.spotify.com/pod/show/silverscreenvideo/message Support this podcast: https://podcasters.spotify.com/pod/show/silverscreenvideo/support

EPISODE 170: Francis Ford Coppola. The name alone conjures up iconic images: Marlon Brando's chilling stare, helicopters thundering over Vietnam, and a young Al Pacino taking over the family business. But beyond the Godfather films lies a treasure trove of Coppola's work from the 70s and 80s. In this episode, Jason and guest Megan Kearns delve into five of his most intriguing films from this period: The Conversation (1974): A paranoid surveillance expert gets tangled in a web of deceit with chilling consequences. Apocalypse Now (1979): Coppola's epic journey into the heart of darkness of the Vietnam War. Rumble Fish (1983): A stylish and introspective look at teenage alienation starring Matt Dillon and Mickey Rourke. Peggy Sue Got Married (1986): A housewife gets transported back to her high school days in a delightful time-travel comedy. Tucker: The Man and His Dream (1988): The true story of visionary car designer Preston Tucker and his fight against the Detroit giants. Join us as we: Debate the merits of each film: Is Apocalypse Now a masterpiece of cinema or a bloated spectacle? Uncover hidden gems: Is Rumble Fish an underrated coming-of-age story? Analyze Coppola's directorial choices: How does his style evolve throughout these films? Laugh, cry, and maybe even argue: Get ready for some passionate Coppola commentary! So, buckle up, Binge Lords! This episode promises a wild ride through the mind of a cinematic legend. HOST: Jason Binge Movies comes to you from the last video store in the universe. Store manager Jason and his guests rank and review movies to determine which are most worthy of preservation for all time. At Binge Movies the very strange, deeply analytical, and highly ridiculous meet to make a movie review show unlike any other. Become a Patron Binge Movies Merchandise  Elite Patrons: Heather Sachs Joe Buttice  Pete Nerdrovert  Dan Kawecki

April is John's birthday month, and this year, we're highlighting his adolescent penchant for juvenile delinquency with a couple of cult favorites. First up is Francis Ford Coppola's adaptation of S.E. Hinton's novel, Rumble Fish, starring Matt Dillon and Mickey Rourke. Conceived of as an art film for kids and an antidote to Coppola's previous Hinton adaption of The Outsiders, Rumble Fish brings together existential philosophy, German Expressionist film, and a percussion-forward score from Stewart Copeland of The Police to tell the story of Rusty James and The Motorcycle Boy. We discuss parallels with Shakespeare and Christianity, themes of freedom and time, the use of color in a mostly black and white film, and many other topics. Channel your inner street tough and punch play (right in the face) to hear all about this amazing film!

David discusses the movies he's been watching lately, including Freud's Last Session, Immediate Family, Saltburn, Ferrari, Oppenheimer, Anatomy of a Fall, Cassandro, Afire, Orlando, My Political Biography, Dungeons & Dragons: Honor Among Thieves, Rumble Fish, Menus Plaisirs - Les Troigros, The Killer, Wish, Chicken Run: Dawn of the Nugget, Maestro, The Taste of Things, Poor Things, Leo, All of Us Strangers, Spider-Man: Across the Spider-Verse, Four Daughters and Night Swim.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Although we had an early kickoff to our 2024 season with our episode dedicated to the work of Tom Wilkinson early in January, Watch With Jen listeners can consider this the official start of Season 5. Reuniting with my good friend & the senior editor of Letterboxd, the intelligent & highly articulate Mitchell Beaupre, in this delightful, research-filled feature-length conversation, we take a look at director Francis Ford Coppola's ambitious, messy, underrated, & often misunderstood '80s period, with emphasis on the films RUMBLE FISH, THE COTTON CLUB, ONE FROM THE HEART, & PEGGY SUE GOT MARRIED. Mitchell Beaupre's Bio: I'm so pleased to welcome back to the podcast a talented, supportive, and funny friend. Currently based in Newark, Delaware, Mitchell Beaupre is not only the Senior Editor at one of my favorite services (via Letterboxd), but they're also the co-host of the Weekend Watchlist and Four Favorites podcasts, which you can find in the stream for The Letterboxd Show. Additionally, a prolific freelance film journalist and stellar interviewer for prestigious outlets such as "The Film Stage," "Paste Magazine," "The Playlist," and "Little White Lies," you can keep up with all of their impressive work on Twitter @ItIsMitchell. Originally Posted on Patreon (2/18/24) here: https://www.patreon.com/posts/98710804 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Shop Watch With Jen logo Merchandise in Logo Designer Kate Gabrielle's Threadless Shop

On this week's Talkhouse Podcast we've got an episode for the drummers and those who like a great story: Jon Wurster and Stewart Copeland. Copeland is of course the drummer for the legendary, gazillion-selling Rock and Roll Hall of Famers the Police, who were called “the biggest band in the world” during their mid-'80s heyday. Their hits have endured over the decades, too, and that's in no small part due to the special chemistry the trio enjoyed—and that chemistry, as you'll hear, often manifested itself in fights between Copeland and his old bandmate Sting. Copeland has made a fascinating career for himself since; he directed a documentary about his old band that made interesting use of their music, and he's got a new album and tour called Police Deranged for Orchestra, which features those classic songs redone in wild new ways. As you'll hear in this chat, Copeland also found a side career as a film composer, working on everything from Oliver Stone's Wall Street to the classic Francis Ford Coppola movie Rumble Fish. Check out a little bit of “Every Little Thing She Does is Magic“ from Police Deranged for Orchestra right here. Now the other half of this conversation is a drummer from a later era and, as you'll hear, a huge fan of Copeland's work. Jon Wurster is a renaissance man who's played most regularly with Superchunk, the Mountain Goats, and Bob Mould, but whose list of credits goes way beyond those amazing acts. He's also a comedy writer and half of the duo Scharpling and Wurster, which gave birth to some of the funniest characters in radio comedy ever. This summer, Wurster will tour with both Mountain Goats and Bob Mould, so chances are good that he'll be in a city near you. In this conversation, Wurster—as I had hoped he would—gets deep into specifics with Copeland, asking him right off the bat about a gig from the early 1980s. They also chat about how Copeland's orchestral tours actually work and about his forays into the soundtrack world—I had never heard the term “shit chord” before. They get into the fights that Copeland had with Police frontman Sting, and about how band therapy helped sort that all out. Wurster also gets a chance to ask about the lyrics to a deep cut called “On Any Other Day.” Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jon Wurster and Stewart Copeland for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

It's December which means that Mike gets to whip out the Xmas intro and outro! It's Al and Anton this week, with the latest news, rumours and chat.Sam & Max: The Devil's Playhouse Remastered ,Beyond Good and Evil 20th Anniversary Edition,The Rumble Fish+,Star Racer ,Lil' Guardsman ,Skater XL, LEVEL5 Vision II Showcase, Inazuma Eleven: Victory Road ,Professor Layton and the New World of Steam,DECAPOLICE ,Fantasy Life i: The Girl Who Steals Time ,Megaton Musashi: Wired,Dave the Diver,Fashion Dreamer , Tetris 99 ,Game & Watch , Metal Gear Solid: Master Collection Vol. 1.,Batman: Arkham Trilogy ,EarthBound, USA,F-Zero 99 ,Monster Hunter: Rise ,Mario Kart 8 Deluxe: ,Among Us ,A Hat in Time, Behemoth, Celeste, Crypt of the NecroDancer, Undertale, Untitled Goose Game,Splatoon 3,Sonic Superstars ,The Legend of Legacy HD Remastered,Sonic the Hedgehog 3 movie ,Eminem,Fortnite, Super Mario RPG , Bayonetta ,Disney Speedstorm ,Minecraft Legends,Suika Game , Cult of the Lamb SINS OF THE FLESH,Fightin Herds,Cattails: Wildwood Story,Prison Architect 2 , Borderlands Collection: Pandora's BoxSupport the show

Rumble Fish (1983) Category: The English Class TV Cart 2/3 Laundry Dan brings in more teen angst but this time in black and chrome. Kron can't find a Barnes & Noble to save his life. The boys do their version of Jeopardy and get a little carried away with the sexy talk. French Bones chimes in as well. THE MOTORCYCLE BOY RAINS  -Crash & Burn  JOIN THE DISCORD https://discord.com/invite/3zP2SXKtfq Theme by Dkrefft https://open.spotify.com/artist/1yxWXpxlqLE4tjoivvU6XL

Francis's favorite nephews are talking Coppola's favorite piece of personal work; Rumble Fish. Based on the S.E. Hinton novel and shot directly after The Outsiders, this film is Francis in his most pure form. Mike and Brian talk Matt Dillon, Mickey Rourke, Diane Lane and of course, the network namesake himself; Nicky Coppola (aka Nicolas Cage). 

This week we blow out the 40 birthday candles on Sean Connery's one-off return as James Bond in NEVER SAY NEVER AGAIN and Frances Ford Coppola's second film of the year, the mostly forgotten curio RUMBLE FISH. Please rate, like, and subscribe, and we'll be back next time to celebrate THE BIG 4-0's of Tom Cruise in ALL THE RIGHT MOVES (his second film of 1983, as we trace his trajectory to superstar status) and Christopher Walken (in his second film of 1983 as well) in David Cronenberg's (second film of 1983...) Stephen King adaptation (the second of 1983) THE DEAD ZONE.

This week on THE BIG 4-0, we welcome our third guest to the podcast, the lovely Ms. Ron, Kate. The three of us discuss how well the generational angst of THE BIG CHILL and the grimy slasher PIECES have aged. Please remember to rate, like, and subscribe, and we'll be back next week to celebrate the BIG 4-0's of Sean Connery's one-and-done return to Bond in NEVER SAY NEVER AGAIN, and Francis Ford Coppola's audacious THE OUTSIDERS parallel, RUMBLE FISH.

Having not learned his Rumble Fish lesson, our hero spends six months with uncle Frank making The Cotton Club. Cage plays trumpet player Richard Gere's brother with gangster ambitions. The shoot was miserable, and the movie is interesting to talk about. Ha ha! Join Bryan and Desmond as they reckon with this movie.

Making music in grandma's bedroom?!  This week's guest on Discover New Music is family to JJO, the incomparable Lajon Witherspoon of Sevendust.  Discussing the band's 14th studio album “Truth Killer” and almost 30 years of Sevendust, Lajon recalls how the band reclaimed some innocence while making this new record, as well as making some of their heaviest tracks to date.  Plus, he talks about wrangling a calf, if Rumble Fish or Crawlspace was a better name and plays a round of Rapid Fire!See omnystudio.com/listener for privacy information.

Bert Kreischer is joined by guest bear Rob Lowe on this week's episode of 2 Bears, 1 Cave! Rob discusses being famous in the 80s, growing up with other movie stars in Malibu, golf, watch collecting, transcendental meditation, and much more! He also share stories about Cary Grant, “Unstable,” “The Outsiders,” and “Rumble Fish,” gives advice on making a “first move,” and discusses moving out of L.A. to Santa Barbara.https://tomsegura.com/tourhttps://www.bertbertbert.com/tourhttps://store.ymhstudios.com/

Esta semana, nueva sesión "náufrago-veraniega" de sensaciones varias, con clásicos entre 1980 y 1983. Suenan: PETER GABRIEL - "NO SELF CONTROL" ("PETER GABRIEL", 1980) / KATE BUSH - "LEAVE IT OPEN" ("THE DREAMING", 1982) / ROBERT WYATT - "BORN AGAIN CRETIN" ("NOTHING CAN STOP US", 1981) / CAPTAIN BEEFHEART AND THE MAGIC BAND - "HOT HEAD" ("DOC AT THE RADAR STATION", 1980) / TALKING HEADS - "HOUSES IN MOTION" ("REMAIN IN LIGHT", 1980) / KING CRIMSON - "THELA HUN GINJEET" ("DISCIPLINE", 1981) / THE POLICE - "SHAMBELLE" (1981) / STEWART COPELAND & STAN RIDGWAY - "DON'T BOX ME IN" ("RUMBLE FISH", 1983) / XTC - "JASON AND THE ARGONAUTS" ("ENGLISH SETTLEMENT", 1982) / NICK NICELY - "HILLY FIELDS" (1982) / SPLIT ENZ - "MAKE SENSE OF IT" ("TIME AND TIDE", 1982) / ADRIAN BELEW - "THE MAN IN THE MOON" ("LONE RHINO", 1982) / PETER HAMMILL - "BREAKTHROUGH" ("SITTING TARGETS", 1981) / JOHN CALE - "THOUGHTLESS KIND" ("MUSIC FOR A NEW SOCIETY", 1982) /Escuchar audio

On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s.   And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come.   Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative.    We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979.   1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral.   For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016.   But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema.   Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier.    In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance.   Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film.   After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton.   But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend.   It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984.   In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira.   If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962.   Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side.   American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven.   Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf.   Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta.   In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died.   When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel.   Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States.   And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments.   Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982.   Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year.   Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there.   Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business.   But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend.   Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration.   But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May.   I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year.   We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman.   The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget.   And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes.   And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help.       Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema.   Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives.   Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode.   August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time.   In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center.   It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story.   Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story.   After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up.   After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town.   With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors.   For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role.   Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles.   Today, there are two reasons to watch Playing For Keeps.   One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst.   The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday.   Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums.   Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release.   Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps.   The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m.   Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon.   Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps.   In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her.  She would find Weinstein nude in the bathtub,  where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter.   And on that sad note, we're going to take our leave.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987.   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.

On this week's Talkhouse Podcast we've got an episode for the drummers and those who like a great story: Jon Wurster and Stewart Copeland. Copeland is of course the drummer for the legendary, gazillion-selling Rock and Roll Hall of Famers the Police, who were called “the biggest band in the world” during their mid-'80s heyday. Their hits have endured over the decades, too, and that's in no small part due to the special chemistry the trio enjoyed—and that chemistry, as you'll hear, often manifested itself in fights between Copeland and his old bandmate Sting. Copeland has made a fascinating career for himself since; he directed a documentary about his old band that made interesting use of their music, and he's got a new album and tour called Police Deranged for Orchestra, which features those classic songs redone in wild new ways. As you'll hear in this chat, Copeland also found a side career as a film composer, working on everything from Oliver Stone's Wall Street to the classic Francis Ford Coppola movie Rumble Fish. Check out a little bit of “Every Little Thing She Does is Magic“ from Police Deranged for Orchestra right here. Now the other half of this conversation is a drummer from a later era and, as you'll hear, a huge fan of Copeland's work. Jon Wurster is a renaissance man who's played most regularly with Superchunk, the Mountain Goats, and Bob Mould, but whose list of credits goes way beyond those amazing acts. He's also a comedy writer and half of the duo Scharpling and Wurster, which gave birth to some of the funniest characters in radio comedy ever. This summer, Wurster will tour with both Mountain Goats and Bob Mould, so chances are good that he'll be in a city near you. In this conversation, Wurster—as I had hoped he would—gets deep into specifics with Copeland, asking him right off the bat about a gig from the early 1980s. They also chat about how Copeland's orchestral tours actually work and about his forays into the soundtrack world—I had never heard the term “shit chord” before. They get into the fights that Copeland had with Police frontman Sting, and about how band therapy helped sort that all out. Wurster also gets a chance to ask about the lyrics to a deep cut called “On Any Other Day.” Enjoy. Thanks for listening to the Talkhouse Podcast, and thanks to Jon Wurster and Stewart Copeland for chatting. If you liked what you heard, please follow Talkhouse on your favorite podcasting platform, and check out all the great stuff at Talkhouse.com. This episode was produced by Myron Kaplan, and the Talkhouse theme is composed and performed by the Range. See you next time!

Book Vs. Movie: Rumble FishThe 1975 Novel Vs. the 1983 MovieRusty James is a 14-year-old kid in Tulsa, Oklahoma, who lives a troubled life in 1975's Rumble Fish, written by former teen sensation S.E. Hinton who published her first work (the YA classic The Outsiders while a freshman in college in 1967. James spends his days getting into fights, hanging out with best friend Steve, trying to find time for his girlfriend Patty, and, most of all, idolizing his older brother, The Motorcycle Boy. The events leading up to his time in the reformatory make up for the main action, and the audience sympathizes with a kid who can't seem to catch a break. The 1983 film was co-written and directed by Francis Ford Coppola. Simultaneously, he created The Outsiders adaptation, which would become a cult classic. With some of the same cast members (including Matt Dillon and Diane Lane) and the addition of Mickey Rourke, Nicolas Cage, and Dennis Hopper--Coppola aims for a French New Wave look and feel. Filmed on video and in black and white, the movie has been a mainstay at film festivals and retrospectives for decades.With her flair for getting into the minds of her teen subjects and realistic portrayals of angst and loneliness--Hinton is a legend in the world of YA Fiction, and her films remain popular with her fans. So what are the main differences between the book and the film? Which version did the Margos like better? Have a listen!In this ep the Margos discuss:The background of S.E. Hinton and her unusual careerThe changes Coppola made with the original story.The cast of the 1983 film: Matt Dillon (Rusty James,) Mickey Rourke (The Motorcycle Boy,) Diane Lane (Patty,) Dennis Hopper (Father,) Diana Scarwid (Cassandra,) Vincent Spano (Steve,) Nicolas Cage (Smokey,) Chris Penn (BJ Jackson,) Lawrence Fishburne (“Midget,”) William Smith (Officer Patterson,) Glenn Withrow (Biff,) Tom Waits (Benny, the Bartender,) Sofia Coppola (Donna,) and S.E. Hinton in a cameo performance.Clips used:The Motor Cycle Boy talks about his mother in CaliforniaRusty Jones commercial (1982)Rumble Fish 1983 trailerPlanning a rumbleDillon and Lane talk about an artistic choice of Coppla's (Criterion Channel)Rusty and Steve talkRusty, The Motorcycle Boy and FatherThe Motorcycle Boy and Rusty at the pet shopMusic: Stewart Copeland & Stan Ridgeway's “Don't Box Me In”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5406542/advertisement

Book Vs. Movie: Rumble FishThe 1975 Novel Vs. the 1983 MovieRusty James is a 14-year-old kid in Tulsa, Oklahoma, who lives a troubled life in 1975's Rumble Fish, written by former teen sensation S.E. Hinton who published her first work (the YA classic The Outsiders while a freshman in college in 1967. James spends his days getting into fights, hanging out with best friend Steve, trying to find time for his girlfriend Patty, and, most of all, idolizing his older brother, The Motorcycle Boy. The events leading up to his time in the reformatory make up for the main action, and the audience sympathizes with a kid who can't seem to catch a break. The 1983 film was co-written and directed by Francis Ford Coppola. Simultaneously, he created The Outsiders adaptation, which would become a cult classic. With some of the same cast members (including Matt Dillon and Diane Lane) and the addition of Mickey Rourke, Nicolas Cage, and Dennis Hopper--Coppola aims for a French New Wave look and feel. Filmed on video and in black and white, the movie has been a mainstay at film festivals and retrospectives for decades.With her flair for getting into the minds of her teen subjects and realistic portrayals of angst and loneliness--Hinton is a legend in the world of YA Fiction, and her films remain popular with her fans. So what are the main differences between the book and the film? Which version did the Margos like better? Have a listen!In this ep the Margos discuss:The background of S.E. Hinton and her unusual careerThe changes Coppola made with the original story.The cast of the 1983 film: Matt Dillon (Rusty James,) Mickey Rourke (The Motorcycle Boy,) Diane Lane (Patty,) Dennis Hopper (Father,) Diana Scarwid (Cassandra,) Vincent Spano (Steve,) Nicolas Cage (Smokey,) Chris Penn (BJ Jackson,) Lawrence Fishburne (“Midget,”) William Smith (Officer Patterson,) Glenn Withrow (Biff,) Tom Waits (Benny, the Bartender,) Sofia Coppola (Donna,) and S.E. Hinton in a cameo performance.Clips used:The Motor Cycle Boy talks about his mother in CaliforniaRusty Jones commercial (1982)Rumble Fish 1983 trailerPlanning a rumbleDillon and Lane talk about an artistic choice of Coppla's (Criterion Channel)Rusty and Steve talkRusty, The Motorcycle Boy and FatherThe Motorcycle Boy and Rusty at the pet shopMusic: Stewart Copeland & Stan Ridgeway's “Don't Box Me In”Book Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupFollow us on Twitter @bookversusmovieInstagram: Book Versus Movie https://www.instagram.com/bookversusmovie/Email us at bookversusmoviepodcast@gmail.com Margo D. Twitter @BrooklynMargo Margo D's Blog www.brooklynfitchick.com Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok https://www.tiktok.com/@margodonohuebrooklynfitchick@gmail.comYou can buy your copy of Filmed in Brooklyn here! Margo P. Twitter @ShesNachoMamaMargo P's Instagram https://www.instagram.com/shesnachomama/Margo P's Blog https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

I go autobiographical in this episode and recount my experience as a crew member on Francis Ford Coppola's production of Rumble Fish, filmed in my home town of Tulsa.A Bill&Debi Production

Join Cat and Rob for a discussion of the Nicolas Cage film Rumble Fish

Well, Nicolas Cage didn't have fun filming it, and Bryan and Desmond didn't have fun watching it. But they enjoyed talking about it - among other diversions and tangents. Next stop on the Cage Dive is Francis Ford Coppola's Rumble Fish. There's a huge amount of talent involved in this one, but it's an art film that finds a pretentious rut and stays there. We have a fun time talking about it, nonetheless.

In this episode, Lisa & Patrick talk about movie, tv, music, and pop culture from the '70s & '80s including the movies 'Sunset' & 'Rumble Fish'...The TV shows "Sledge Hammer" & "Misfits of Science"...The music of Sugar Hill Gang & Level 42...And some of the TV shows and movies that we would go outside with our friends and recreate in play and games.

Borneo 1834 by Serge Lutens (2005) + S.E. Hinton's The Outsiders (1967) and Rumble Fish (1975) + Francis Ford Coppola's The Outsiders (1983) and Rumble Fish (1983) with Scout Dixon of Low Pony 5/12/23 S5E38 To hear this episode and support the continuing story of The Perfume Nationalist please subscribe on Patreon. 

Around the time that the very first episode of Season 4 was uploaded, I embarked on a months-long journey to prepare & record the podcast's first entry in a new spotlight series devoted to some of the greatest character actors in screen history. Reaching out to good friends & past guests who I knew had a special interest in the life, films, characters, & performances of our first subject, Dennis Hopper, over the course of two months, I interviewed every participant one by one. Kicking off each conversation by inquiring what it was about Hopper that they found most compelling as a viewer (as well as their earliest memories of the actor), I challenged them even further, asking each guest to choose one or more of their favorite roles to dissect with me in a limited amount of time. While most people immediately gravitated to BLUE VELVET, I was thrilled by their willingness to touch on a number of his lesser-known or celebrated works, including some of the films that Dennis Hopper made as a director, & soon wound up with over 3.5 hours of stellar audio, primarily focused on the 1970s-1990s. Knowing that my overly ambitious idea for one episode was best reconfigured as a 3-part miniseries, I cut highlights from these conversations together & incorporated excerpts from interviews with Dennis Hopper I'd discovered in my research & then read them aloud as Hopper to add some variety to our stellar yet mostly masculine* lineup. Today, we're kicking things off a week ahead of Dennis Hopper's birthday with a look at the first part of his career. Although it's primarily set in the 1970s, we take a few forays into his earlier years as an actor & his iconic feature filmmaking debut EASY RIDER, plus flirt briefly with the '80s in order to cover his reunion with APOCALYPSE NOW director Francis Ford Coppola in RUMBLE FISH as well. Along with those titles, you'll also hear us discuss THE LAST MOVIE, THE AMERICAN FRIEND, KID BLUE, & others in Dennis Hopper - Part 1. Boasting a wonderfully insightful roster of contributors, this episode features the following guests in alphabetical order: Mitchell Beaupre, Duncan Birmingham, William Boyle, Elizabeth Cantwell, S.A. Cosby, Jordan Harper, Blake Howard, Mike Miley, & Travis Woods. Following this installment, next week's Part 2 is a must for fans of Dennis Hopper's '80s Renaissance era, including his iconic turn as Frank Booth in BLUE VELVET, & Part 3 will take us to the '90s. I hope you enjoy this long-in-the-works series & if you'd like to encourage the show's efforts to try new things like this in the future, please consider joining our Patreon (HTTPs://www.patreon.com/FilmIntuition) to support our research for as little as $1 per month, if you haven't joined us already, & be sure to recommend Watch With Jen to others to help spread the word. Thank you so much! *Note: our next subject is the remarkable Julianne Moore so I'm hoping that will help balance things out a little! Originally Posted on Patreon: https://www.patreon.com/posts/82813775 Theme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive Logo: KateGabrielle.com

Welcome back (in italics) What's This Shit?!?! - Woman and a bartender. Man doodling. Why don't you go talk to him? He's not your average guy. Simultaneous old-fashioned orders. "I'm from the future." What We're Watching: King of Staten Island; Cocaine Bear; Pulp Fiction; Rumble Fish; The Legend of Billie Jean; What's Up, Doc? Hosted by your own personal cinematic Rasta Pasta Mon & Beef Lava Nachos! Music by Splash '96 Recorded & Edited by Boutwell Studios We go home from here

This week, we take a look back at a movie celebrating the fortieth anniversary of its theatrical release this coming Saturday, a movie that made a star of its unconventional lead actor, and helped make its director one of a number of exciting female filmmakers to break through in the early part of the decade. The movie Martha Coolidge's 1983 comedy Valley Girl, starring Nicolas Cage and Deborah Foreman. ----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're going to be looking back at a movie that will be celebrating the fortieth anniversary of its original theatrical release. A movie that would turn one of its leads into a star, and thrust its director into the mainstream, at least for a short time.   We're talking about the 1983 Martha Coolidge film Valley Girl, which is celebrating the 40th anniversary of its release this Saturday, with a special screening tonight, Thursday, April 27th 2023, at the Chinese Theatre in Hollywood with its director, doing a Q&A session after the show.   But, as always, before we get to Valley Girl, we head back in time.    A whole eleven months, in fact. To May 1982.   That month, the avant-garde musical genius known as Frank Zappa released his 35th album, Ship Arriving Too Late to Save a Drowning Witch. Released on Zappa's own Barking Pumpkin record label, Drowning Witch would feature a song he co-wrote with his fourteen year old daughter Moon Unit Zappa. Frank would regularly hear his daughter make fun of the young female mallrats she would encounter throughout her days, and one night, Frank would be noodling around in his home recording studio when inspiration struck. He would head up to Moon's room, wake her up and bring her down to the studio, asking her to just repeat in that silly Valspeak voice she did all the crazy things she heard being said at parties, bar mitzvahs and the Sherman Oaks Galleria shopping center, which would become famous just a couple months later as the mall where many of the kids from Ridgemont High worked in Amy Heckerling's breakthrough movie, Fast Times at Ridgemont High. For about an hour, Frank would record Moon spouting off typical valley girl phrases, before he sent her back up to her room to go back to sleep.   In a couple days, Frank Zappa would bring his band, which at the time included guitar virtuoso Steve Vai in his first major musical gig, into the home studio to lay down the music to this weird little song he wrote around his daughter's vocals.   “Valley Girl” wold not be a celebration of the San Fernando Valley, an area Zappa described as “a most depressing place,” or the way these young ladies presented themselves. Zappa in general hated boring generic repetitive music, but “Valley Girl” would be one of the few songs Zappa would ever write or record that followed a traditional 4/4 time signature.   In the spring of 1982, the influential Los Angeles radio station KROQ would obtain an acetate disc of the song, several weeks before Drowning Witch was to be released on an unsuspecting public. Zappa himself thought it was a hoot the station that had broken such bands as The Cars, Duran Duran, The Police, Talking Heads and U2 was even considering playing his song, but KROQ was his daughter's favorite radio station, and she was able to persuade the station to play the song during an on-air interview with her.   The kids at home went nuts for the song, demanding the station play it again. And again. And again. Other radio stations across the country started to get calls from their listeners, wanting to hear this song that hadn't been officially released yet, and Zappa's record label would rush to get copies out to any radio station that asked for it.   The song would prove to be very popular, become the only single of the forty plus he released during his recording career to become a Top 40 radio hit, peaking at number 32. Ironically, the song would popularize the very cadence it was mocking with teenagers around the country, and the next time Zappa and his band The Mothers of Invention would tour, he would apologize to the Zappa faithful for having created a hit record. "The sad truth,” he would say before going into the song, “is that if one continues to make music year after year, eventually something will be popular. I spent my career fighting against creating marketable art, but this one slipped through the cracks. I promise to do my best never to have this happen again."   As the song was becoming popular in Los Angeles, actor Wayne Crawford and producer Andrew Lane had been working on a screenplay about star-crossed lovers that was meant to be a cheap quickie exploitation film not unlike Zapped! or Porky's. But after hearing Zappa's song, the pair would quickly rewrite the lead character, Julie, into a valley girl, and retitle their screenplay, Bad Boyz… yes, Boyz, with a Z… as Valley Girl.   Atlantic Entertainment Company, an independent film production company, had recently started their own distribution company, and were looking for movies that could be made quickly, cheaply, and might be able to become some kind of small hit. One of the scripts that would cross their desk were Crawford and Lane's Valley Girl. Within a week, Atlantic would already have a $350,000 budget set aside to make the film.   The first thing they needed was a director.   Enter Martha Coolidge.   A graduate of the same New York University film program that would give us Joel Coen, Amy Heckerling, Ang Lee, Spike Lee and Todd Phillips, Coolidge had been working under the tutelage of Academy Award-winner Francis Ford Coppola at the filmmaker's Zoetrope Studios. She had made her directorial debut, Not a Pretty Picture in 1976, but the film, a docu-drama based on Coolidge's own date rape she suffered at the age of 16, would not find a big audience. She had made another movie, City Girl, with Peter Riegert and Colleen Camp, in 1982, with Peter Bogdanovich as a producer, but the film's potential release was cancelled when Bogdanovich's company Moon Pictures went bankrupt after the release of his 1981 movie They All Laughed, which we covered last year. She knew she needed to get on a film with a good chance of getting released, and with Coppola's encouragement, Coolidge would throw her proverbial hat into the ring, and she would get the job, in part because she had some directing experience, but also because she was willing to accept the $5,000 Atlantic was offering for the position.   Now that she had the job, it was time for Coolidge to get to casting. It was her goal to show an authentic teenage experience in Los Angeles in the early 1980s, absent of stereotypes. As someone whose background was in documentary filmmaking, Coolidge wanted Valley Girl to feel as real as possible.   Her first choice for the role of Randy, the proto-punk Romeo to Julie's… well, Juliet… Coolidge was keen on a twenty-three year old unknown who had not yet acted in anything in movies, on television, or even a music video. Judd Nelson had been studying with Stella Adler in New York City, and there was something about his look that Coolidge really liked. But when she offered the role to Nelson, he had just booked an acting gig that would make him unavailable when the film would be shooting. So it was back to the pile of headshots that had been sent to the production office. And in that pile, she would find the headshot of eighteen year old Nicolas Cage, who at the time only had one movie credit, as one of Judge Reinhold's co-workers in Fast Times. Coolidge would show the photo to her casting director, telling them they needed to find someone like him, someone who wasn't a conventionally handsome movie actor.   So the casting director did just that. Went out and got someone like Nicolas Cage. Specifically, Nicolas Cage.   What Coolidge didn't know was that Cage's real name was Nicolas Coppola, and that his uncle was Coolidge's boss. She would only learn this when she called the actor to offer him the role, and he mentioned he would need to check his schedule on the Coppola movie he was about to start shooting on, Rumble Fish. Francis Coppola made sure the shooting schedule was re-arranged so his nephew could accept his first leading role.   For Julie, Coolidge wanted only one person: Deborah Foreman, a twenty-year-old former model who had only done commercials for McDonalds at this point in her career. Although she was born in Montebello CA, mere miles from the epicenter of the San Fernando Valley, Foreman had spent her formative years in Texas, and knew nothing about the whole Valley Girl phenomenon until she was cast in the film.   Supporting roles would be filled by a number of up and coming young actors, including Elizabeth Daily and Michelle Mayrink as Julie's friends, Cameron Dye as Randy's best friend, and Michael Bowen as Julie's ex-boyfriend, while Julie's parents would be played by Frederic Forrest and Colleen Camp, two industry veterans who had briefly worked together on Apocalypse Now.   As the scheduled start date of October 25th, 1982, rolled closer, Martha Coolidge would be the first director to really learn just how far Nicolas Cage was willing to go for a role. He would start sleeping in his car, to better understand Randy, and he would, as Randy, write Foreman's character Julie a poem that, according to a May 2020 New York Times oral history about the film, Foreman still has to this day. In a 2018 IMDb talk with director Kevin Smith, Cage would say that it was easy for his performance to happen in the film because he had a massive crush on Foreman during the making of the film.   Because of the film's extremely low budget, the filmmakers would often shoot on locations throughout Los Angeles they did not have permits for, stealing shots wherever they could. But one place they would spend money on was the movie's soundtrack, punctuated by live performances by Los Angeles band The Plimsouls and singer Josie Cotton, which were filmed at the Sunset Strip club now known as The Viper Room.   The film would only have a twenty day shooting schedule, which meant scenes would have to be shot quickly and efficiently, with as few hiccups as possible. But this wouldn't stop Cage from occasionally improvising little bits that Coolidge loved so much, she would keep them in the film, such as Randy spitting his gum at Julie's ex, and the breakup scene, where Randy digs into Julie by using Valspeak.   In early January 1983, while the film was still being edited, Frank Zappa would file a lawsuit against the film, seeking $100,000 in damages and an injunction to stop the film from being released, saying the film would unfairly dilute the trademark of his song. The lawsuit would force Coolidge to have a cut of her movie ready to screen for the judge before she was fully done with it. But when Coolidge screened this rushed cut to Atlantic and its lawyers, the distributor was pleasantly surprised to see the director hadn't just made a quickie exploitation film but something with genuine heart and soul that could probably have a much longer lifespan. They were originally planning on releasing the film during the later part of the summer movie season, but now knowing what they had on their hands, Atlantic would set an April 29th release date… pending, of course, on the outcome of the Zappa lawsuit.   In March, the judge would issue their ruling, in favor of the film, saying there would be no confusion in the public's mind between the song and the film, and Atlantic would continue to prepare for the late April release.   One of the things Coolidge really fought for was to have a wall of great new wave songs throughout the film, something Atlantic was hesitant to pay for, until they saw Coolidge's cut. They would spend another $250k on top of the $350k production budget to secure songs from The Psychedelic Furs, The Payolas, Men at Work, Toni Basil, The Flirts and Sparks, on top of the songs played by The Plimsouls and Josie Cotton in the film.   Valley Girl would be one of three new movies opening on April 29th, alongside Disney's adaptation of the Ray Bradbury story Something Wicked This Way Comes, and The Hunger, the directorial debut of filmmaker Tony Scott. Opening on only 442 screens, Valley Girl would come in fourth place for the weekend, grossing $1.86m in its first three days. However, its $4200 per screen average would be better than every movie in the top 15, including the #1 film in the nation that weekend, Flashdance. Not bad for a film that was only playing in one third of the country.   In its second weekend, Valley Girl would fall to seventh place, with $1.33m worth of ticket sold, but its per screen average would be second only to the new Cheech and Chong movie, Still Smokin'. Over the next three months, the film would continue to perform well, never playing in more screens than it did in its opening weekend, but never falling out of the top 15 while Atlantic was tracking it. When all was said and done, Valley Girl would have grossed $17.34m in the United States, not a bad return on a $600k production and music clearance budget.   There was supposed to be an accompanying soundtrack album for the film that, according to the movie's poster, would be released on Epic Records, a subsidiary of Columbia Records whose eclectic roster of artists included Michael Jackson, The Clash and Liza Minnelli, but it turns out the filmmakers only ended up only getting music clearances for the movie, so that release would get cancelled and a six-song mini-LP would be created through a label Atlantic Pictures created called Roadshow Records. But then that album got cancelled, even though some copies had been printed, so it wouldn't be until 1994 that an actual soundtrack for the film would be released by Rhino Records. That release would do so well, Rhino released a second soundtrack album the following year.   The lawsuit from Zappa would not be the only court proceeding concerning the film. In July 1984, Martha Coolidge, her cinematographer, Frederick Elmes, and two of the actresses, Colleen Camp and Lee Purcell, sued Atlantic Releasing for $5m, saying they were owed a portion of the film's profits based on agreements in their contracts. The two sides would later settle out of court.   Nicolas Cage would, of course, becomes one of the biggest movie stars in the world, winning an Oscar in 1996 for his portrayal of an alcoholic Hollywood screenwriter who goes to Las Vegas to drink himself to death.   Deborah Foreman would not have as successful a career. After Valley Girl, it would be another two years before she was seen on screen again, in what basically amounts to an extended cameo in a movie I'll get to in a moment. She would have a decent 1986, starring in two semi-successful films, the sexy comedy My Chauffeur and the black comedy April Fool's Day, but after that, the roles would be less frequent and, often, not the lead. By 1991, she would retire from acting, appearing only in a 2011 music video for the She Wants Revenge song Must Be the One, and a cameo in the 2020 remake of Valley Girl starring Jessica Rothe of the Happy Death Day movies.   After Valley Girl, Martha Coolidge would go on a tear, directing four more movies over the next seven years. And we'll talk about that first movie, Joy of Sex, on our next episode.   Thank you for joining us.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Valley Girl.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We're taking a look at two films based on S.E. Hinton books that were adapted to the big screen by Francis Ford Coppola. First up we try to stay golden in THE OUTSIDERS. Then things get desaturated in RUMBLE FISH.

In the twenty-fifth episode of Season 8 (Coming-of-Ages), the halfway mark, Kyle is joined by actor Ben McGinley and musician Ben Childs to discuss the abstract avant-garde experimentation of Francis Ford Coppola as he mines the ideas of mortality, temporality, and nostalgia adapting S.E. Hinton's lesser known teenage melodrama Rumble Fish (1983). 

Hello ShameListeners, we're back with another bonus episode for you! Originally planned to be a Patreon exclusive, we've decided to give a couple away for FREE! Our new bonus show is called "Cage is the Rage" and on this Michael and Amanda will attempt to watch every single Nic Cage movie in chronological order. On this episode we will be discussing Francis Ford Coppola's RUMBLE FISH (1983) and Richard Benjamin's RACING WITH THE MOON (1984) The post The Shame List Picture Show – Patreon Bonus – Cage is the Rage #2 appeared first on Cinepunx.

Um, h-hello there, little raccoon. I'll do my best to describe the movie Rumble Fish for you, but it might be a bit scary. Are you sure you're ready to hear this? Okay, so Rumble Fish is a movie about a teenage boy named Rusty James who is the leader of a gang in a rough and dangerous part of town. He's always trying to live up to the legacy of his older brother, Motorcycle Boy, who used to be the toughest guy in the neighborhood. But Motorcycle Boy has disappeared, and Rusty James is left to navigate the dangerous world of gangs and violence on his own. The movie is filmed in black and white, which gives it a dark and eerie feel. There are lots of scenes of alleys and abandoned buildings, which might remind you of the kind of places raccoons like to explore. But be warned, there are also scenes of fighting and bloodshed that might be too intense for a little raccoon like you. There's a lot of talk about mortality and the fragility of life in Rumble Fish. It's a very existential movie, which means it deals with big questions about the meaning of life and what happens when we die. That might be a bit too deep for a raccoon, but I guess you never know. Overall, I'd say Rumble Fish is a pretty intense movie that might be too scary for a raccoon. But if you're feeling brave, you could give it a watch and see what you think. Just be prepared for some dark and heavy themes, and lots of scenes of fighting and violence.

Jason, Andy, and Brian continue to discuss what they're doing and watching. Also, Stay tuned - Season 3 Episode 9 comes out this Wednesday morning (3/8/2023) with a review of the 1983 movie Rumble Fish.

THIS WEEK, I talk about my most anticipated games of 2023. Kenny Omega returns to Japan as the One-Winged Angel. In our FINAL STAGE I review the annoying fighting game experience that is RUMBLE FISH 2 All this edition of A.C.M.G. presents TALK TIME LIVE EXTRA: SELECT/START

It's the last podcast of 2022! Everyone else has closed up shop for the rest of the year, so news is slight, but let's talk about the upcoming games of 2023, the dark underbelly of idle games, this unfortunate port of The Rumble Fish 2, the power of Hyper Gunsport, and more!

On this week's episode of Currently Reading, Meredith and Kaytee are discussing: Bookish Moments: working with a new bookstore and a reading chair conundrum Current Reads: we've got some wheelhouse reading here today including some non-fiction that we think you'll love Deep Dive: the books we read during our childhoods that impacted the readers we are today Book Presses: two more of those childhood books that we want to make sure you've read As per usual, time-stamped show notes are below with references to every book and resource we mentioned in this episode. If you'd like to listen first and not spoil the surprise, don't scroll down!  New: we are now including transcripts of the episode (this link only works on the main site). These are generated by AI, so they may not be perfectly accurate, but we want to increase accessibility for our fans! *Please note that all book titles linked below are Bookshop affiliate links. Your cost is the same, but a small portion of your purchase will come back to us to help offset the costs of the show. If you'd prefer to shop on Amazon, you can still do so here through our main storefront. Anything you buy there (even your laundry detergent, if you recently got obsessed with switching up your laundry game) kicks a small amount back to us. Thanks for your support!*   . . . .   2:10 - Listener Press Episode: Record a voice memo on your phone with the following details: Your name, where you're from, the book's title and author, a description of it and WHY you are pressing it.  These are DUE FRIDAY JUNE 17 4:29 - Bookish Moment of the Week 4:57 - Cafe Con Libros Bookstore  9:08 - Current Reads 10:23 - Taste by Stanley Tucci (Kaytee) 14:28 - Hidden Pictures by Jason Rekulak (Meredith) 18:07 - The Appeal by Janice Hallett 20:05 - Diary of a Wimpy Kid by Jeff Kinney 20:29 - A Kind of Spark by Elle McNicoll (Kaytee) 20:37 - Lexy @readlexyread on Instagram 20:42 - @thewilltoread on Instagram 24:00 - The Palace Papers by Tina Brown (Meredith) 24:55 - The Diana Chronicles by Tina Brown 28:16 - HRH by Elizabeth Holmes 29:22 - Red White and Royal Blue by Casey McQuiston 28:28 - Majesty by Katharine McGee 28:29 - American Royals by Katharine McGee 29:39 - World of Wonders by Aimee Nezhukumatathil (Kaytee) 33:15 - Hide by Kiersten White (Meredith) 36:38 - The Hunger Games by Suzanne Collins 36:29 - Fantasticland by Mike Bockoven 30:03 - Deep Dive: Childhood Reading that Impacted Us 42:26 - First Person Plural: My Life as a Multiple by Cameron West (Amazon Link) 43:39 - Sybil by Flora Rheta Schreiber  44:26 - Mrs. Frisby and the Rats of Nimh by Robert C. O'Brien  46:13 - A Tale of Two Cities by Charles Dickens  46:57 - To Kill a Mockingbird by Harper Lee 48:41 - Are You There, God? It's Me Margaret by Judy Blume 48:54 - Deenie by Judy Blume  48:59 - Tiger Eyes by Judy Blume 49:01 - Blubber by Judy Blume  49:13 - Forever by Judy Blume 49:55 - Where the Red Fern Grows by Wilson Rawls 50:51 - Maus by Art Spiegelman 50:56 - Night by Elie Weisel  50:58 - The Diary of A Young Girl by Anne Frank 52:30 - Rumble Fish by S.E. Hinton 52:31 - The Outsiders by S.E. Hinton 53:36 - West Side Story by Irving Shulman 53:48 - Much Ado about Nothing by William Shakespeare 53:55 - A Raisin in the Sun by Lorraine Hansberry 53:56 - Driving Miss Daisy by Alfred Uhry 55:00 - The Odyssey by Homer 55:01 - The Canterbury Tales by Geoffrey Chaucer 56:07  - Books We'd Like to Press Into Your Hands 56:28 - The Giver by Lois Lowry (Kaytee) 1:00:05 - The Indian in the Cupboard by Lynne Reid Banks (Meredith) Connect With Us: Meredith is @meredith.reads on Instagram Kaytee is @notesonbookmarks on Instagram Mindy is @gratefulforgrace on Instagram Mary is @maryreadsandsips on Instagram Roxanna is @roxannatheplanner on Instagram currentlyreadingpodcast.com @currentlyreadingpodcast on Instagram currentlyreadingpodcast@gmail.com Support us at patreon.com/currentlyreadingpodcast and www.zazzle.com/store/currentlyreading