Podcast appearances and mentions of Sally Kirkland

"BOBBY DRISCOLL: CLASSIC CINEMA STAR OF THE MONTH" EPISODE 64 - “BOBBY DRISCOLL - STAR OF THE MONTH” - 12/02/2024  BOBBY DRISCOLL's name may not be too familiar anymore, but in his heyday, he was the male equivalent of NATALIE WOOD. He was one of the most talented and prolific child stars of the 1940s and 1950s. His descent into darkness should serve as a cautionary tale to all of the stage mothers out there who think their kids will be the next big thing. Sometimes, there is a price to pay for fame, and it ain't always pretty. Join us as we discuss the tragic life of child star Bobby Driscoll. SHOW NOTES:  Sources: Great Child Stars (1976), by James Robert Parish; “Bobby Driscoll, Dope Suspect," July 11, 1956, Los Angeles Examiner; “Bobby Driscoll Arrested in Bean Shooting Row,” August 23, 1956, Los Angeles Times; “Actor Bob Driscoll Arrested As Addict,” October 29, 1959, Mirror News; “Actor Freed of Charges on Narcotics,” December 12, 1959, Los Angeles Times; “Bobby Driscoll Napped After Rift with Gun,” June 18, 1960, The Citizen News; “New Charge Confronts Former Star,” June 23, 1960, Mirror News; “Actor Fined For Striking Heckler,” October 14, 1960, Los Angeles Examiner; “Driscoll Theft Charge Issued,” April 11, 1961, The Citizen News; “Bobby Driscoll is Arrested Again,” May 2, 1961, Los Angeles Examiner; “Bobby Driscoll, a Film Star at 6, an Addict at 17, Sent to Chino,” October 19, 1961, by Charles Hillinger, Los Angeles Times; “Truly, A Lost Boy,” March 4, 2007, by Susan King, Los Angeles Times; “Oscars Flashback: The Tragic Life and Death of Former Disney Star Bobby Driscoll,” January 22, 2019, by Lynette Rice, Entertainment Weekly; BobbyDriscoll.com; Wikipedia.com; TCM.com; IMDBPro.com; Movies Mentioned:  Lost Angel (1943), starring James Craig, Marsha Hunt, & Margaret O'Brien; The Fighting Sullivans (1944) starring Thomas Mitchell & Anne Baxter; Sunday Dinner With A Soldier (1944), starring Anne Baxter, John Hodiak, Charles Winner, & Anne Revere; The Big Bonanza (1944), starring Richard Arlen; So Goes My Love (1946), starring Myrna Loy & Don Ameche; Identity Unknown (1945), starring Richard Arlen; Miss Susie Slagle's (1946), starring Veronica Lake; From This Day Forward (1946), starring Joan Fontaine & Mark Stevens; O.S.S. (1946), starring Alan Ladd & Geraldine Fitzgerald; Three Wise Fools (1946), starring Margaret o'Brine & Lionel Barrymore; Song Of The South (1946), starring James Baskett; If You Knew Susie (1948), starring Eddie Cantor; So Dear to My Heart (1948), starring Burl Ives & Beulah Bondi; The Window (1949), starring Barbara Hale, Arthur Kennedy, Ruth Roman, & Paul Stewart; Treasure Island (1950), starring Robert Newton; When I Grow Up (1951), starring Robert Preston & Martha Scott; The Happy Time (1952), starring Charles Boyer, Louis Jordan, & Marsha Hunt; Peter Pan (1953) The Scarlett Coat (1955), starring Cornel Wilde & George Sanders; The Party Crashers (1958), starring Connie Stevens & Frances Farmer; Dirt (1965), starring Sally Kirkland; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special episode, created by one of our student podcast fellows, NYU student Arash Dabestani sits down with actress Kristen Vaganos, currently a series regular on ABC's General Hospital. Kristen, also an accomplished producer behind several critically acclaimed shows, shares her experiences navigating the entertainment industry. She offers valuable insights into the challenges and rewards of her career and how she finds balance between her professional and personal life. Kristen Vaganos grew up in a loud, loving Greek family in Philadelphia before moving to New York City where she earned her BFA in Drama from NYU Tisch School of the Arts in just three years. Kristen is currently a series regular on ABC's General Hospital playing the role of Molly. She can be seen starring in films on Peacock, Hulu, Amazon, Tubi, WongFu and the Lifetime Network. As a Producer, Kristen is known for the films Bobcat Moretti starring Vivica A. Fox, Taryn Manning, Matt Peters, and Oscar-nominee Sally Kirkland, and Ramona At Midlife, starring Yvonne Woods, Alysia Reiner, and Joel de la Fuente. For a full transcript of any podcast episode, please email career.communications@nyu.edu.

Writer Xaque (pronounced Zack) Gruber makes his directorial debut with Sallywood. He wrote the screenplay based on his own experiences as the personal assistant to eccentric award-winning actress Sally Kirkland. Xaque discusses the making of this wonderful odyssey -- an insider look into Hollywood and what the still vital Kirkland faces with getting older in a town where youth is celebrated most.

What a BEHIND THE LENS we've got for you with this episode as we take a look at two films as different as night and day thanks to writer/director ANTHONY REPINSKI and his film, HEATHER; plus, XAQUE GRUBER talks about the fabulous SALLYWOOD! Joining me at the top of the show is writer/director ANTHONY REPINSKI to discuss his new horror film, HEATHER. Brutal, and graphic but with a fascinating character study unfolding, it is impossible to look away no matter what unfolds onscreen. An interesting conversation with Tony as he talks about going from multiple tours of military duty in the Middle East to filmmaking, his love of storytelling, the genesis of HEATHER and the importance of the film's themes on bullying and beyond, working in a contained environment on a limited budget, having a strong production team, and more. Then get ready for the indefatigable and exuberant writer/director XAQUE GRUBER and SALLYWOOD. (Due to logistics on Xaque's end, although we had hoped to do this live, we prerecorded this interview on Halloween to air today.) Starring none other than Sally Kirkland as Sally Kirkland, this laugh-out-loud comedy is everything you could hope for from Sally Kirkland and more. Based on Xaque's true life experience as Sally's assistant, get ready for fun, silliness, lots of cameos, and more. SALLYWOOD is Sally! And Xaque breaks it all down for us in this fun-filled interview as he dives into the logistics of the production, working around Covid restrictions, the importance of color and visual tone in the film, casting (some amazing fun cameos), and more! A film that's sweet, brilliant fun with a filmmaker to match! http://eliasentertainmentnetwork.com

My friend Xaque Gruber wrote and directed a semi-autobiographical film about meeting his idol Sally Kirkland... and that's just the start of the crazy story. But how much of it is true? Geekscapists might not know the name Xaque Gruber but he and I have a history that goes back longer than Geekscape: almost 20 years! We first met while working as Hollywood assistants and while the work was thankless and the pay was worse, Xaque always gave me something to look forward to each day! So of course when I got the chance to have Xaque on the show to talk about his new award-winning film 'Sallywood'. I was going to jump at the chance to catch up with him! The semi-autobiographical 'Sallywood' tells the true story of 20-something "Zack", who moves to Hollywood from Maine to pursue a Hollywood career. In a chance encounter, he meets his lifelong idol Sally Kirkland, who hires him on the spot to be her assistant. Learning that her once Oscar-nominated career is now in shambles, Zack dedicates himself to finding a way to land her back on the red carpet where she belongs! So again... how much of this story is true? Listen to find out! You can also subscribe to the Geekscape podcast on Spotify: https://spoti.fi/3H27uMH Apple Podcasts: https://apple.co/3BVrnkW Learn more about your ad choices. Visit megaphone.fm/adchoices

“A passion that cannot be denied. A betrayal that cannot be forgiven.”   “Revenge is a 1990 American romantic thriller film directed by Tony Scott and starring Kevin Costner, Anthony Quinn, Madeleine Stowe, Miguel Ferrer and Sally Kirkland.”   Show Links Trailer: https://www.youtube.com/watch?v=NWNUaUOYzJw   Wikipedia: https://en.wikipedia.org/wiki/Revenge_(1990_film)   Just Watch: https://www.justwatch.com/us/movie/revenge   Socials Facebook: https://www.facebook.com/@moviewavepod   Instagram: https://www.instagram.com/moviewavepod   Letterboxd: https://letterboxd.com/moviewavepod/   Reddit: https://www.reddit.com/user/moviewavepod   TikTok: https://www.tiktok.com/@moviewavepod   Twitter (X): https://twitter.com/moviewavepod   Buy Me A Coffee: https://www.buymeacoffee.com/moviewavepod   Intro/Outro Sample Credits “Aiwa CX-930 VHS VCR Video Cassette Recorder.wav” by Pixabay “Underwater Ambience” by Pixabay “waves crashing into shore parkdale beach” by Pixabay   Movie Wave is a part of Pie Hat Productions.

This week Brian and Anthony watch the 1984 VHS classic, Fatal Games. This movie is directed by Michael Elliot and stars Sally Kirkland, Lynn Banashek and Sean Masterson. Enjoy the strict adherence to proper javelin form and the many shower scenes. The movie starts at 32:35 into the episode and the mid movie break is 39:39 in the movie. This is available on YouTube at https://youtu.be/CiEGmJIyMis?si=PBYxvatgrVUyHpjj This movie was available at https://vinegarsyndrome.com/ Follow Vinegar Syndrome on Instagram @vinegarsyndrome Follow Sally Kirkland on Instagram @sallykirklandactor The podcast art is by @delasernaxtattoos on Instagram and has been revised by rodrick_booker on Fiverr. If you like what you're hearing subscribe and comment on our Instagram @berated_b_rated_movies, Facebook @Berated B RatedMovies and Tik Tok @berated_b_rated_movies. Check out our website at Beratedbratedmovies.com. If you have any comments or movie suggestions please send them to beratedbratedmovies@gmail.com

This week on And the Runner-Up Is, Kevin welcomes back his boyfriend/partner/best supporting actor Sebastian Gronback to discuss the 1987 Oscar race for Best Actress, where Cher won for her performance in "Moonstruck," beating Glenn Close in "Fatal Attraction," Holly Hunter in "Broadcast News," Sally Kirkland in "Anna," and Meryl Streep in "Ironweed." We discuss all of these nominated performances and determine who we think was the runner-up to Cher.  0:00 - 8:56 - Introduction 8:57 - 40:23 - Glenn Close 40:24 - 1:08:16 - Holly Hunter 1:08:17 - 1:27:53 - Sally Kirkland 1:27:54 - 1:44:25 - Meryl Streep 1:44:26 - 2:07:39 - Cher 2:07:40 - 3:03:07 - Why Cher won / Twitter questions 3:03:08- 3:10:41 - Who was the runner-up? Buy And the Runner-Up Is merch at https://www.teepublic.com/stores/and-the-runner-up-is?ref_id=24261! Support And the Runner-Up Is on Patreon at patreon.com/andtherunnerupis! Follow Kevin Jacobsen on Twitter Follow Sebastian Gronback on Twitter Follow And the Runner-Up Is on Twitter and Instagram Theme/End Music: "Diamonds" by Iouri Sazonov Additional Music: "Storming Cinema Ident" by Edward Blakeley Artwork: Brian O'Meara

STEWART WADE From a young age, Stewart Wade knew he wanted to tell stories. He performed skits in the backyard for his captive parents and friends, and attempted his first novel at age ten.  A bit later, Stewart tried his hand at poetry, short stories, and playwriting, ultimately getting a Master's degree in Theater, Film and Television from UCLA.    After a few years in the Hollywood trenches, Stewart wrote and directed his first feature film, Coffee Date, starring Wilson Cruz, Jonathan Silverman,  Sally Kirkland, Elaine Hendrix, Jason Stuart, and Debbie Gibson. The movie garnered numerous awards and received a limited theatrical release, ultimately playing in rotation for a year on MTV's LOGO channel. His next movie, Tru Loved, starred Najarra Townsend and Jake Abel, and featured Jasmine Guy, Alexandra Paul, Alec Mapa, Cynda Williams, Bruce Vilanch, Nichelle Nichols, Vernon Wells -- and Jane Lynch. It also won several awards before playing in rotation on Here!TV for many years.   Next up, Stewart directed and co-produced Such Good People, a screwball comedy written by David Michael Barrett and starring Michael Urie, Randy Harrison, and James Urbaniak, with supporting roles by Scott Wolf, Ana Ortiz, Lance Bass, Alec Mapa, Tom Lenk, Drew Droege, and Rick Overton.   At about this same time, Stewart created Coffee House Chronicles.  This web series is an ongoing passion, as each episode is self-contained and can be produced when time and money allow.Most recently, Stewart has written and directed his first drama, Say Yes, and now the sequel, Baby Steps. Both star Patrick Zeller and Matt Pascua, and are available on Amazon Prime.Contact: Stewartnla@aol.comWeb:  http://www.stewartwadefilms.wordpress.comPhoto: Copyright Wilkinson/2023Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

BILLY CLIFTEmmy nominated filmmaker, Billy Clift,  “A Long Road to Freedom: The Advocate Celebrates 50 years”, has created a vast body of work that consists of a wide range of different genres.  Such as the Feature film “Jacked”, on Homeless youth, The short films, “Monty”, Montgomery's Clift's last dying day, “No Goodbyes”, a true story about love in a concentration camp, and “Lena's Dance” ( Dee Wallace). The ridiculous cult comedies, “Baby Jane?” And “Hush Up Sweet Charlotte” (Mink Stole, Varla Jean Merman), realty tv such as “Food Fetish”, “Behind the Bar” and the travel show “Underground”.  Streaming tv shows, (two seasons) “Not So Straight in Silver Lake”, (Daniel Franzaese, Calpernia Adams), “My Sister is So Gay”, (Loni Anderson, Debra Wilson, Ray Dawn Chong) and in post for “The Lair : Hollywood” to be streaming in January 2024. He's created over 40 music video's of different musical styles…  short form documentaries focusing on people who have made significant contributions to society like Arron Walton, a CEO of a black Public relations firm to Lawyer, Gloria Allred who has been a strong force in underserved rights. He is in post-production for the feature film “Here We Are”, a film on racism during the pandemic, starring Sally Kirkland, Christine Elise, Elizabeth Regan, Wil J. Jackson and Mel England.  He's also in post-production for the documentary “Our Lady in The Kitchen” About a painting that had been stolen by the Nazis, ending up in a household in Silver Lake, California.  Billy is in pre-production with a plethora of different projects, continually striving to push his creativity to find new fresh ways to tell stories. Email Billy:   billyclift@me.comPhoto: Copyright Wilkinson/2023Opening and closing music courtesy the very talented Zakhar Valaha via Pixabay.To contact Wilkinson- email him at BecomingWilkinson@gmail.com

It's time for another @EchoChamberFP https://www.instagram.com/echochamberfp/ episode!!! And this week, we have a comedy from Fifth Season & Watch This Ready, we return to a slasher franchise with Paramount Pictures, Spyglass Media Group. Pixar latest gets a look, and Alternate Current bring us to re-releases. First a British classic from Warp Films & Film4, then a slick revenge yarn from Entertainment Film Distributors, Vertigo Releasing!!! Today we have: 80 for Brady Watch Review: Here. https://youtu.be/0_yHDqm-XLM Theatrical Release Date: 3rd February 2023 Digital Release Date: 8th September 2023 Director: Kyle Marvin Cast: Lily Tomlin, Jane Fonda, Rita Moreno, Sally Field, Tom Brady, Billy Porter, Harry Hamlin, Guy Fieri, Alex Moffat, Rob Corddry, Glynn Turman, Ron Funches, Bob Balaban, Jimmy O Yang, Matt Lauria, Sara Gilbert, Sally Kirkland, Andy Richter, Gus Kenworthy, Brian Jordan Alvarez, Marshawn Lynch, Patton Oswalt, Retta, Danny Amendola, Julian Edelman, Rob Gronkowski Running Time: 98 min Cert: 12a Trailer: Here. https://youtu.be/-UeGXB2NjR8?si=OnEQrZAEoU-SBHHC ------------ Scream VI Watch Review: Here. https://youtu.be/5YBglPdXqlQ AMC Lincoln Square Theater: 6th March 2023 Theatrical Release Date: 10th March 2023 Digital Release Date: 8th September 2023 Director: Matt Bettinelli-Olpin, Tyler Gillett Cast: Melissa Barrera, Jenna Ortega, Jasmin Savoy Brown, Jack Champion, Mason Gooding, Roger L. Jackson, Liana Liberato, Dermot Mulroney, Devyn Nekoda, Henry Czerny, Tony Revolori, Josh Segarra, Skeet Ulrich, Samara Weaving, Hayden Panettiere, Courteney Cox, Jack Quaid Running Time: 122 min Cert: 18 Trailer: Here. https://youtu.be/h74AXqw4Opc?si=zS6-XgOOEYDcuhtn ------------ Elemental Watch Review: Here. https://youtu.be/JkUC-SoF16k 76th Cannes Film Festival: 27th May 2023 Theatrical Release Date: 16th June 2023 Digital Release Date: 13th September 2023 Director: Peter Sohn Cast: Leah Lewis, Clara Lin Ding, Reagan To, Mamoudou Athie, Ronnie del Carmen, Shila Ommi, Wendi McLendon-Covey, Catherine O'Hara, Mason Wertheimer, Ronobir Lahiri, Wilma Bonet, Joe Pera, Matt Yang King, Jeff LaPensee, Ben Morris, Jonathan Adams, P.L. Brown Running Time: 109 min Cert: PG Trailer: Here. https://youtu.be/hXzcyx9V0xw?si=WEqnCWmuX2PBCmk7 ------------ Dead Man's Shoes Watch Review: Here. https://youtu.be/rQpuO57VU5I Dolby Theatre: 8th May 2023 Theatrical Re-release Date: 15th September 2023 Director: Shane Meadows Cast: Paddy Considine, Toby Kebbell, Gary Stretch, Stuart Wolfenden, Neil Bell, Paul Sadot, Seamus O'Neil, George Newton, Paul Hurstfield, Emily Aston, Jo Hartley, Craig Considine, Matt Considine, Andrew Shim, Kephas Leroc Running Time: 83 min Cert: 18 Trailer: Here. https://youtu.be/4k9mkQjEzuY ---------------- Lucky Number Slevin Watch Review: Here. https://youtu.be/NzOmlfghjwU Premiere Release Date: 24th February 2006 Theatrical Release Date: 7th April 2006 Digital Release Date: 18th September 2023 Director: Paul McGuigan Cast: Josh Hartnett, Bruce Willis, Lucy Liu, Morgan Freeman, Ben Kingsley, Stanley Tucci, Michael Rubenfeld, Peter Outerbridge, Kevin Chamberlin, Dorian Missick, Mykelti Williamson, Scott Gibson, Sam Jaeger, Danny Aiello, Corey Stoll, Rami Posner, Robert Forster, Jennifer Miller Running Time: 110 min Cert: 18 Trailer: Here. https://youtu.be/zYqHPP0Ffik?si=t1TnPG1cRSqmtL6U -------------- *(Music) 'Kansas City Shuffle' by J. Ralph - 2006 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

Hey it's Arroe and this is Pod-fest Episode 30 Three back to back conversations with real people of entertainment, politics, science, medical or cooks in their own kitchen. Pod-fest 30 features the craziness of Impractical Jokers Brian Q Quinn and Sal Vulcano. Then we're stepping back to 2020 with Rob Salem from the group Salem's Childe. We'll wrap things up with an incredible conversation I had with actress Sally Kirkland. This is Pod-fest

Hey it's Arroe and this is Pod-fest Episode 30 Three back to back conversations with real people of entertainment, politics, science, medical or cooks in their own kitchen. Pod-fest 30 features the craziness of Impractical Jokers Brian Q Quinn and Sal Vulcano. Then we're stepping back to 2020 with Rob Salem from the group Salem's Childe. We'll wrap things up with an incredible conversation I had with actress Sally Kirkland. This is Pod-fest

An eclectic #BTLRadioShow this week as we are joined by EDWARD SAVIO talking his YA novel LEAGUE OF AULD, plus our exclusive interview with filmmaker PAUL COLLETT discussing his new film, THE HAUNTING OF HELL HOLE MINE. How about some chat on action, authors, and audiobooks thanks to author EDWARD SAVIO who joins us live discussing his latest YA novel (now in audiobook form), LEAGUE OF AULD, Book 3 in the "Battle for Forever" series. Listen as Edward dives into the "Battle of Forever" series and his inspiration, as well as crafting characters, most notably his protagonist, 1500-year-old Alexander X as well as the genesis of his villains Peter Kroll and Elam Khai, the structural design of what will be a four book series and how he develops and moves the plot. Also, given June is "Audiobook Appreciation Month", Edward talks about the audiobook process and the narrators/readers of the "Battle for Forever" series with Wil Wheaton reading Books 1 and 2 and audiobook legend Ray Porter now picking up the mantle with LEAGUE OF AULD, in addition to Edward's own audiobook narration. A conversation so in-depth and interesting that we'll be picking it up later this summer when Edward returns to #BTLRadioShow for more insight into his writing process as an author as well as a screenwriter. But first, we've got our exclusive interview with writer/director/actor PAUL COLLETT talking about "the making of" his latest film THE HAUNTING OF HELL HOLE MINE. An ambitious project that stars veterans Tom Sizemore and Sally Kirkland, it's the behind-the-scenes work that Paul did to bring this film to life that really stands out on screen and you'll hear all about it in this interview. Listen as Paul talks at length about wearing multiple hats, production design and the building of the "Hell Hole Mine", visual effects, casting, his approach to filmmaking, and more. http://eliasentertainmentnetwork.com

Jeremy Jackson At the tender age of six, Jeremy Jackson got his first taste of show business, booking his first successful commercial for Mattel. From this Jeremy exploded onto the commercial scene starring in dozens of national network ad campaigns including television and print. In addition to his commercial work Jeremy dabbled in daytime television with a seven-episode run on the soap opera Santa Barbara, and got his first feature film shot with a small roll in Shout starring John Travolta. With hard work and determination, he accomplished all of this before his tenth birthday. Soon after in 1990, the ten year old Newport Beach native beat 3,000 other child actors, including a young Leonardo DiCaprio, for the role of Hobie Buchanon on the 90's phenomenon Baywatch. His character remained on the show for its entirety running through 1999. In the midst of all this success Jeremy's creativity did not stop at television. In 1992 Jeremy starred alongside Oscar winning actress Sally Kirkland in the short film The Bulkin Trail for which he received a Youth and Film Award nomination for Best Actor. During his successful acting career Jeremy soared into the music industry releasing two full length albums yielding two top ten hits, several singles, and launching him into a full European tour. During his time on Baywatch, the golden boy surfer from Newport Beach developed a serious substance abuse problem. In 2000, following an arrest, Jeremy decided to change his ways, and committed himself into drub rehab. Since then he has remained clean and sober, and, using his kind heart, natural charisma and magnetic personality, has helped countless peers through their struggles with addiction. In 2003, Jeremy established an invaluable business relationship with Christian Audigier marketing his new clothing line Von Dutch. After the success of the line, Audigier employed Jackson's talents to help catapult his newest line, Ed Hardy. In his time as an event coordinator for Audigier, Jackson has produced over 170 fashion events in 35 states and 5 countries. To View This Episode- https://youtu.be/uzi8F2Rw4Ag #whoknewinthemoment #baywatch #davidhasselhoff #BaywatchTV

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Dead Mikey Number Eleven :Human Highway : The Musical So the gang finally got to see the movie Jean had been anticipating all season long, Human Highway – starring and directed by Neil Young. The flick also stars Dennis Hopper, Dean Stockwell, Russ Tamblyn, Sally Kirkland and Devo. Right at the top of the episode, Doug decided the best way to do an episode about a cult film most people have never seen – or even have access to – was to turn the podcast itself into a musical. So he grabbed his acoustic guitar and made up songs about it on the spot while Heather and Jean explained what it was we'd seen. Taping this episode was a blast. Footnotes and Follies: In an issue of Rolling Stone, members of Devo mentioned Sally Kirkland sued Neil Young over the cut tendon she suffered at the hands of Dennis Hopper. Links: Human Highway Trailer Booji Boy Gets Gas (scene)Neil Young and Devo perform "Hey Hey My My" Follow us on InstagramClick On Our Link Tree Contact the show: poprocksandsodapod@gmail.comCreated by Doug Wortel/Jean Michel/Matt AndersonCover Art by Jean Michel“Pop Rocks And Soda Theme” by Doug Wortel/Heather Dellamore/Alden Stevens 

We are kicking off Pride Month with our host Jamie Brickhouse and our first honory guest, Scott Alexander Hess. He is the author of six novels, including Skyscraper, a Lambda Literary Award Finalist, and The Butcher's Sons, which was named a Kirkus Reviews Best Book of 2015. His latest fiction - a pair of novellas The Root of Everything & Lightning was named a best book of 2021 by the St. Louis Librarians. His writing has appeared in HuffPost, Genre Magazine, The Fix, Thema Literary Review, and elsewhere. Hess co-wrote "Tom in America," an award-winning short film, starring Sally Kirkland and Burt Young. He teaches fiction writing at Gotham Writers Workshop and curates Hot Lit, an LGBTQ+ themed monthly newsletter. Originally from St. Louis, Missouri, Hess lives in New York City with his husband. Reach out to our host, Jamie Brickhouse on: www.JamieBrickhouse.com. To get in touch with Scott Alexander Hess find him at www.ScottAlexanderHess.com. Support the show

The team sits down with Daniel Adams, Director of “The Walk“. This film has its WORLD PREMIERE at the Opening Night (8pm PT) of the 25th annual Dances with Films Festival in Los Angeles. Fandor is a proud sponsor of Dances with Films, a defiantly independent festival. The festival will run from June 9 – 19th, 2022.Daniel Adams grew up in Boston and worked in politics, including two gubernatorial campaigns, a race for attorney general, and a presidential campaign. He also garnered valuable film production experience directing television commercials for a Boston advertising agency. He then co-wrote (w/ Michael Mailer) and directed his first feature film in 1989, “A Fool and His Money” which starred Sandra Bullock, Jonathan Penner, George Plimpton and Jerzy Kosinski, released through Trimark Pictures (now LionsGate). He then went on to write and direct his second feature, the critically acclaimed “Primary Motive,” for Twentieth Century Fox which starred Judd Nelson, Justine Bateman, Richard Jordan, John Savage and Sally Kirkland, produced by Don Carmody. His third feature, which he also wrote and directed, a comedy entitled, “The Mouse,” starring Rip Torn and John Savage, released through Strand Releasing, also received positive reviews. “The Golden Boys,” which he wrote and directed, starring David Carradine, Rip Torn, Bruce Dern and Mariel Hemingway, had a very successful release through Roadside Attractions and Lions Gate Films in 2009. His next film, which he wrote and directed, released in 2010 through New Films Cinema, was “The Lightkeepers” which starred Richard Dreyfuss and Blythe Danner. “Lightkeepers” has been the recipient of many awards, including Best Musical Score for a Comedy in 2010 (Int'l Film Music Critics Assoc), Best Supporting Actor (Bruce Dern, Methodfest), and Best Film (“Golden Angel” award at the CAFF in Los Angeles). It was chosen as the closing night film at the prestigious Palm Springs International Film Festival and opening night film at the Boulder International Film Festival.He directed and co-wrote (with legendary National Lampoon editor Larry “Ratso” Sloman) the satire, “An L.A. Minute” starring Gabriel Byrne, Kiersey Clemons, and Bob Balaban, which was released in theaters through Strand in August 2018. And he wrote the script for the upcoming feature film “Panama” starring Mel Gibson and Cole Hauser.“The Walk” which he directed and co-wrote (with George Powell) has already won many film festival awards including “Best Picture” and “Best Director” and has been chosen as the opening night film at the Boston International Film Festival and Dances with Films.He is currently writing a biography of American patriot James Otis and developing the book into a limited series to be co-written and produced by multi-Emmy winner Jay Kogen. Hosted on Acast. See acast.com/privacy for more information.

Mercedes De La Cruz (Gendron) is a Canadian actress, best known for her memorable and charismatic performances in more than two dozen television shows and independent films. As a model, De La Cruz has graced the cover of ALEPH Magazine, was Former Miss Hawaiian Tropic, Poster Girl Molson Canadian and notably secured a highly visible contract for The Brick before Cindy Crawford took the campaign over. After a successful modeling career, De La Cruz made the transition to a versatile supporting actor, lauded as a “great actress” by the likes of Academy Award nominee Sally Kirkland. For her role as Carla, a savvy pregnant prostitute, in Ramshackle Blues, De La Cruz was nominated for Best Supporting Actress at the 2019 Vancouver Badass Film Festival.De La Cruz was born and raised in Edmonton, Canada where she began performing onstage at the age of three. She was a gifted dancer winning countless competitions and awards including Outstanding Performer from Lecky's School of Dancing in 1994. She loved to dance and performed in front of large crowds in productions such as “The Nutcracker” performed by the Alberta Ballet. From there she went on to Musical Theater and then Classical Theater where she fell in love with the art of acting. She began with small roles and music videos and in 2009 made a move to Vancouver, Canada to pursue acting full time. Shortly after her move to “Hollywood North,” she landed numerous international commercials and now appears in various episodes of many hit TV shows and movies, including Hallmark's upcoming "Right In Front of Me" opposite Janel Parrish, Lifetime's Lonestar Christmas opposite Marco Grazzini, AMC's "Bates Motel" opposite Freddie Highmore, Bravo's Girlfriends' Guide To Divorce opposite Lisa Edelstein (House), History Channel's Project Blue Book opposite Aidan Gillen (Game Of Thrones) and the WB's Supernatural opposite Jared Padalecki. De La Cruz recently wrapped filming the co-lead in the feature "Because You're Dead To Me" and a co-starring role on the Netflix series "Maid." She studied acting under the likes of Jeff Seymour, John Cassini, Neil Schell, Kate Twa, Dean Armstrong, Mathew Harrison, Zibby Allen, Jeb Beach, Bradley Stryker, Michelle Allen, Anthony Shim, Lindsay Gibson, Edward Foy, Daniel Bacon, Rhonda Fisecki, Shea Hampton and Adam Davenport. Mercedes is represented by Melisse Kelly at Cue Management.

  The Donald Jeffries Show 5-25-2022 Sally Kirkland Unscripted Actress Sally Kirkland The Donald Jeffries Show 5-25-2022 Sally Kirkland Actress Sally Kirkland has been in an astounding 220 films. Her mother was the fashion editor at Vogue and LIFE magazine, and friends with the likes of Jacqueline Kennedy, whom Sally would later portray in a play. Sally began her career on the off-Broadway circuit and trained under legendary acting coach Lee Strasberg. Her career in film, TV, and theater began in the 1960's and her first director was Andy Warhol. Sally is probably best known for the film “Anna,” for which she garnered the Best Actress Oscar nomination and won the Best Actress Golden Globe, the Independent Spirit Award, and the LA Film Critic's Circle Award. In 1968 she became the first nude actress on stage. Her 220 films “The Sting,” “The Way We Were,” “Coming Apart,” “Cold Feet,” “Best of the Best,” “Revenge,” “JFK,” “ED TV,” “Bruce Almighty”, “Coffee Date” and “Archaeology of a Woman”. In the past couple of years she has starred in “Buddy Solitaire”, “Gnaw” and “The Most Hated Woman in America” co-starring with Melissa Leo and Peter Fonda. And coming out soon, she has starred in “Sarah Q”, “Cuck”, “Invincible” and “The Talking Tree”. Her television credits include: guest starring on “Criminal Minds,” recurring on “Head Case” and “the Simple Life.” Sally had a recurring role on “Felicity”. She starred on the NBC movie, “Brave New World.” She had a recurring role as Barbara Healy in the original “Roseanne” series. She starred in the TV movie, “Heatwave” and recurred as Tracy on “Days of Our Lives.” Sally is also an exhibited painter, poet, renowned acting coach and ordained minister in the Church of The Movement of Spiritual Inner Awareness (MSIA). Don Jeffries and Sally talk about her fabulous career, including how she came to play Rose Cherami in Oliver Stone's “JFK,” her relationship with Bob Dylan, friendship with people like Robert DeNiro, and her legendary parties in Hollywood. Kirkland is an ordained minister in the church of Movement of Spiritual Inner Awareness: https://www.msia.org/ IMDB: https://www.imdb.com/name/nm0000476/ Sally in JFK Movie: https://www.jfk-online.com/jfk100cher.html DONALD JEFFRIES ONLINE: “I Protest” https://donaldjeffries.substack.com/ Amazon Author Page: https://www.amazon.com/Donald-Jeffries/e/B004T6NFAS%3Fref=dbs_a_mng_rwt_scns_share THE DONALD JEFFRIES SHOW: https://ochelli.com/series/the-donald-jeffries-show/ OCHELLI LINKS: If You Appreciate what Ochelli.com Radio Does: https://ochelli.com/donate/ Ochelli Effect – Uncle – Age of Transitions – T-shirts and MORE: https://theageoftransitions.com/category/support-the-podcasts/ Ochelli PayPal e-mail: blindjfkresearcher@gmail.com LIVE LISTENING OPTIONS: OCHELLI.COM https://ochelli.com/listen-live/ RADDIO https://raddio.net/324242-ochellicom/ ZENO https://zeno.fm/radio/ochelli-radio/ TuneIn http://tun.in/sfxkx OCHELLI.COM Radio Schedule ALL Times Eastern Sunday I'm Looking Through You 3-5 pm Monday The Ochelli Effect 8-10 pm Tuesday The Ochelli Effect 8-10 pm Wednesday The Donald Jeffries Show 6-8 pm The Ochelli Effect 8-10 pm Thursday The Jack Blood Show 360 6-8 pm The Ochelli Effect 8-10 pm Friday The Ochelli Effect 8-10 pm The Age of Transitions 10-11 pm Uncle The Podcast 11pm-Midnight Saturday + ALL Times ALL other days Random Replays Unscripted Actress Sally Kirkland

Unscripted Actress Sally KirklandThe Donald Jeffries Show 5-25-2022 Sally KirklandActress Sally Kirkland has been in an astounding 220 films. Her mother was the fashion editor at Vogue and LIFE magazine, and friends with the likes of Jacqueline Kennedy, whom Sally would later portray in a play. Sally began her career on the off-Broadway circuit and trained under legendary acting coach Lee Strasberg. Her career in film, TV, and theater began in the 1960's and her first director was Andy Warhol. Sally is probably best known for the film "Anna," for which she garnered the Best Actress Oscar nomination and won the Best Actress Golden Globe, the Independent Spirit Award, and the LA Film Critic's Circle Award. In 1968 she became the first nude actress on stage. Her 220 films "The Sting," "The Way We Were," "Coming Apart," "Cold Feet," "Best of the Best," "Revenge," "JFK," "ED TV," "Bruce Almighty", "Coffee Date" and "Archaeology of a Woman". In the past couple of years she has starred in "Buddy Solitaire", "Gnaw" and "The Most Hated Woman in America" co-starring with Melissa Leo and Peter Fonda. And coming out soon, she has starred in "Sarah Q", "Cuck", "Invincible" and "The Talking Tree".Her television credits include: guest starring on "Criminal Minds," recurring on "Head Case" and "the Simple Life." Sally had a recurring role on "Felicity". She starred on the NBC movie, "Brave New World." She had a recurring role as Barbara Healy in the original "Roseanne" series. She starred in the TV movie, "Heatwave" and recurred as Tracy on "Days of Our Lives."Sally is also an exhibited painter, poet, renowned acting coach and ordained minister in the Church of The Movement of Spiritual Inner Awareness (MSIA).Don Jeffries and Sally talk about her fabulous career, including how she came to play Rose Cherami in Oliver Stone's "JFK," her relationship with Bob Dylan, friendship with people like Robert DeNiro, and her legendary parties in Hollywood. Kirkland is an ordained minister in the church of Movement of Spiritual Inner Awareness: https://www.msia.org/IMDB: https://www.imdb.com/name/nm0000476/Sally in JFK Movie: https://www.jfk-online.com/jfk100cher.htmlDONALD JEFFRIES ONLINE:“I Protest”https://donaldjeffries.substack.com/Amazon Author Page:https://www.amazon.com/Donald-Jeffries/e/B004T6NFAS%3Fref=dbs_a_mng_rwt_scns_shareTHE DONALD JEFFRIES SHOW:https://ochelli.com/series/the-donald-jeffries-show/OCHELLI LINKS:If You Appreciate what Ochelli.com Radio Does: https://ochelli.com/donate/Ochelli Effect - Uncle - Age of Transitions - T-shirts and MORE: https://theageoftransitions.com/category/support-the-podcasts/Ochelli PayPal e-mail: blindjfkresearcher@gmail.comLIVE LISTENING OPTIONS:OCHELLI.COM https://ochelli.com/listen-live/RADDIO https://raddio.net/324242-ochellicom/ZENO https://zeno.fm/radio/ochelli-radio/TuneIn http://tun.in/sfxkxOCHELLI.COM Radio Schedule ALL Times EasternSundayI'm Looking Through You 3-5 pmMondayThe Ochelli Effect 8-10 pm TuesdayThe Ochelli Effect 8-10 pm WednesdayThe Donald Jeffries Show 6-8 pmThe Ochelli Effect 8-10 pm ThursdayThe Jack Blood Show 360 6-8 pm The Ochelli Effect 8-10 pm FridayThe Ochelli Effect 8-10 pm The Age of Transitions 10-11 pmUncle The Podcast 11pm-MidnightSaturday + ALL Times ALL other days Random Replays

s.m. gaines interviews Scott Alexander Hess about his inspiration for his latest novella, The Root of Everything and Lightning. They discuss everything from cancel culture, forbidden love and writing techniques. If you are an aspiring author, you don't want to miss out on this mini masterclass! Scott Alexander Hess is the author of six novels, including Skyscraper, a Lambda Literary Award Finalist, and The Butcher's Sons, which was named a Kirkus Reviews Best Book of 2015. His writing has appeared in HuffPost, Genre Magazine, The Fix, Thema Literary Review, and elsewhere. Hess co-wrote “Tom in America,” an award-winning short film starring Sally Kirkland and Burt Young. He teaches fiction writing at Gotham Writers Workshop and curates Hot Lit, an LGBTQ+ themed monthly newsletter. Originally from St. Louis, Missouri, Hess lives in New York City with his husband. Scott's books are available on Amazon, or you may purchase them on his website: Scott Alexander Hess For inquiries or if you would like to share your story with us email: VintageDialogRadio@gmail.com --- Send in a voice message: https://podcasters.spotify.com/pod/show/vintage-dialog-radio/message Support this podcast: https://podcasters.spotify.com/pod/show/vintage-dialog-radio/support

This may not be the best of the best episode of The Bulletproof Podcast, but it is the Best of the Best episode of The Bulletproof Podcast. Chris and Chad look back at 1989's Best of the Best starring Eric Roberts, James Earl Jones, Sally Kirkland and Phillip Rhee. Did Alex Grady help build the car that ran over his son Walter? Why weren't the alternates present for the entire 3 months of training? Was Sonny the most worthless member of the team? This podcast is powered by Pinecast.

SALLY KIRKLAND -- Academy Award and Golden Globe nominated actress.And a frequent guest on The Howard Stern Show.https://en.wikipedia.org/wiki/Sally_Kirkland She's been suffering from serious health problems ever since March after she got the Moderna vaccine and wants to go public with it. The Douglas Coleman Show now offers audio and video promotional packages for music artists as well as video promotional packages for authors. We also offer advertising. Please see our website for complete details. http://douglascolemanshow.comIf you have a comment about this episode or any other, please click the link below.https://ratethispodcast.com/douglascolemanshow

It's martial arts month, so you know what that means.  Two knuckleheads debating about the best sportscasters.  Also we spend time talking mullets, montages, and eyepatches. Jeff reaches back to his formative years and forces Mark to watch Best of the Best from 1989.  Would this movie benefit from more or fewer montages?  Is James Earl Jones a martial artist?  Can you have a tournament with just two teams? IMDB Synopsis: A team from the United States is going to compete against Korea in a Tae Kwon Do tournament. The team consists of fighters from all over the country - can they overcome their rivalry and work together to win? Directed by Robert Radler Staring Eric Roberts, Phillip Rhee, James Earl Jones, Sally Kirkland, and the late Chris Penn. Music this month is brought to you by the San Diego, California rock band The Schizophonics with the track "Something's Got to Give".  Catch their music anywhere you get yours! Spotify Web Instagram Twitter YouTube   You can listen to all of the musical artists the podcast has featured via our very own Spotify playlist ------> CLICK HERE! Follow the pod on Twitter @moviedrafthouse Mark - @iheardyouliked Jeff - @PodcastsbyJeff

In episode 65, Zak & Dustin interview legendary actor, Sally Kirkland!Sally Kirkland is an inspiring actor who's career in Hollywood spans over 50 years! In Z & D's conversation with her, you'll hear Sally tell one amazing story after another. Her positivity, humor, and storytelling ability will leave you wanting more! In fact, you can hear more wild stories from Sally if you sign up to our Patreon! Consider doing that! In the meantime, enjoy a conversation that is guaranteed to elevate your spirit!Sign up to our Patreon here: patreon.com/twodollarlatefeeNEW EPISODES EVERY TWO WEEKS!Please follow us on Spotify & subscribe, rate and review us 5 stars on Apple Podcasts (aka iTunes)Support Us On Patreon: www.patreon.com/twodollarlatefeeInstagram: @twodollarlatefeeZak on Instagram: @zakshafferDustin on Instagram: @dustinrubinvoCheck out the intro/outro music on Bandcamp: jvamusic1.bandcamp.comFacebook: facebook.com/Two-Dollar-Late-Fee-PodcastMerch: https://www.teepublic.com/user/two-dollar-late-feeIMDB: https://www.imdb.comiTunes: podcasts.apple.com/us/podcast/two-dollar-late-feeSpotify: open.spotify.com/show/Amazon: music.amazon.com/podcastsPodchaser: https://www.podchaser.comRadioPublic: radiopublic.com/two-dollar-late-feePodbean: twodollarlatefee.podbean.comStitcher: www.stitcher.com

Join David as he kicks off Season 8 of Yak About Today with a focus on his new role as chairman of The Vero Beach Festival. Today's guest is filmmaker, writer and artist, Xaque Gruber who discusses his work, including Dynasty Reunion, Michael Jackson Memorial and various award shows, plus his collaboration with Sally Kirkland called Sallywood. Xaque is also on the board with David of the Film Festival as they discuss their exciting plans for this years upcoming event.

Oscar nominated actress Sally Kirkland, 79, received the Moderna vaccine in March of this year. It gave her such vertigo that she fell in her home, breaking a bone. She still today suffers from headaches and dizziness. She comes on to simply warn people that they could suffer long term side effects from the vaccine and to balance that risk against risk of getting Covid. YouTube censored the last video we posted of a doctor warning against taking the vaccine if you have already had Covid. It will be interesting to see whether they censor this video of a famous actress simply explaining the side effects she experienced from the vaccine.Support Hidden Truth Show by going to http://www.patreon.com/hiddentruthshow and pledging just $5/month and receive access to Jim and special content and a Hidden Truth cap!Website: http://www.hiddentruthshow.comFacebook: http://www.facebook.com/hiddentruthshowInstagram: http://www.instagram.com/hiddentruthshow

Mercedes De La Cruz is a Canadian born actress and model best known for her memorable and charismatic performances in more than two dozen television shows and independent films. After a successful modeling career, De La Cruz made the transition to a versatile supporting actor lauded as a great actress by the likes of Academy Award nominee, Sally Kirkland for her role as Carla, a savvy pregnant prostitute in Ramshackle Blues, De La Cruz was nominated for a best-supporting actress at the 2019 Vancouver Bad-Ass Film Festival. De La Cruz recently wrapped filming a co-lead in the feature Because You're Dead to Me. And also a movie called The Machine where she can talk a little bit more about while we have the interview. And the co-starring role in the Netflix series Made an extensive spiritual journey, led her to overcome an alcohol and drug addiction. Vincent Ferguson: Her in-depth study in A Course In Miracles led her to a massive change in her perspective and gave way to her being able to see energy on objects. This new development opened her eyes to energy work and set her on an even deeper mission. Health and fitness have always been a high priority for Mercedes as a classically trained ballerina for well over a decade, she is no stranger to a strict fitness regimen. She lifts weights, does circuit training, Yoga and Pilates, and when it comes to nutrition, Mercedes has always been interested in pushing her boundaries, everything from intermittent fasting to breatherianism or the Paleo diet to being a vegetarian. She is now a firm believer in being in communication with your body, giving it what it needs, and eating a lot less than we are used to. So let's welcome Mercedes De La Cruz to my Six Weeks to Fitness podcast. Mercedes how are you? Mercedes De La Cruz: Hi. Wow. I'm really good. How are you? Vincent Ferguson: I'm good. I'm good. Before we talk about fitness and spirituality. Let's talk also about your acting career. Mercedes De La Cruz: Sure. Yeah, absolutely. Vincent Ferguson: You started out as a model, a very successful one, and yet you transitioned to acting what or who inspired you to get into acting? Mercedes De La Cruz: Well, I actually, even before modeling, I was a dancer and I started on stage when I was three years old. And I really like performing, ballet was one thing, but performing just being up there and the crowd and the lights and the excitement and all the energy up there. I really, really wanted more of that. And I mean, I was super young, I was three years old. And so I've been on stage kind of ever since. So I wasn't actually inspired by anyone really specific to perform. I just kind of have always done it. And actually my boyfriend asked me this today. We were doing this fitness stretching class a little while ago and I was really flexible. And he's like, "Have you always been so flexible?" And I was like, "Well, yeah, I was a ballerina. And he was like, "Well, but before you were a ballerina?" And I'm like, "Well, there wasn't anything before." Vincent Ferguson: Right. You're a toddler. Mercedes De La Cruz: Yeah. I don't have any in-depth memories of what it was like before I was three years old. So it feels that same way with performing as well. Vincent Ferguson: Well, so you're actually doing what you believe you were born to do? Mercedes De La Cruz: Yeah, pretty much. And that's the funny thing, being a dancer... And it wasn't just ballet that I did. I did ballet, jazz, musical theater, song and dance, like whatever my dance school had. I didn't do tap because I heard it was bad for your knees. That was silly. I was always dancing and performing and I realized later on that it wasn't even really dance that I wanted to do. It was more the performing side, but it was my mom who really was like, "Oh, you're such a great dancer." And I wanted to make her happy and we do that as human beings. We want to please the other people around us and get approval. But I think if someone would have really asked me like, what I preferred I probably would have been acting a lot sooner. Vincent Ferguson: Really? A lot sooner. Mercedes De La Cruz: Yeah. I mean, not sooner than three, but rather than taking all those years of dance, I think I would have liked to get more into acting sooner than I did. Vincent Ferguson: But doesn't having that background in dance compliment your acting? Mercedes De La Cruz: Absolutely. I think there's a lot of major benefits from all the dance classes that I took and in that is discipline. Right. Vincent Ferguson: Right. Mercedes De La Cruz: Also, competence and learning about you, about your body as well. I'm not shy by any means, and I don't know if I would've ever been, but all the years of being on stage or being around that many people I think probably contributed to that as well. And then also listening. Right. Like being able to take direction. I think that was cultivated in dance. Vincent Ferguson: I know you were born in Edmonton, Canada, but you moved to Vancouver. Why did you move to Vancouver? Mercedes De La Cruz: To pursue acting. Vincent Ferguson: Really? Mercedes De La Cruz: Yeah. I've always worked really hard and I left home really early when I was about 13 years old was the first time that I left home. Vincent Ferguson: Really? Mercedes De La Cruz: Yeah. And I always had lots of jobs. I really wanted to be successful. And so I had part-time jobs and even through school, even when I wasn't living with my family, I always worked. And then I started a bunch of businesses and I had a home decor and painting company, and I had a marketing and promotions company and I was modeling and acting and traveling, and I was doing so many things and I was really spread thin. And I think because of that, and probably because I was drinking a lot as well I just wasn't feeling centered. And I felt quite depressed. And a close friend of mine, Robert Andrews, who had been a photographer actually, who's been taking my pictures since I was 17 years old, he sat me down and he was like, "All right, you're not happy. I can see that. What is it that you need to be doing? Or if you woke up every day and you were going to be doing something that would make you happy, what would it be?" Mercedes De La Cruz: And without even thinking, I was like, "Acting." Like, it was like quick. Vincent Ferguson: Quick. Mercedes De La Cruz: Quick answer. And he was like, "Okay, you got to move." And so I thought about two places that I could live in Canada where I would act and it would be either Toronto or Vancouver. And Vancouver was a lot closer. Vincent Ferguson: Okay. Mercedes De La Cruz: To Edmonton. Vincent Ferguson: Yeah. Mercedes De La Cruz: And I chose Vancouver. And so within I think it was three weeks, I got rid of everything pretty much that I owned and packed up what I could fit in my Volvo and moved to Vancouver. And I didn't know what I was going to do. I didn't have an agent. I didn't know anybody. I didn't have an acting class set up, nothing. I had no idea, but I just felt that's where I needed to be. And lo and behold, it worked out perfectly. Vincent Ferguson: Yeah. Most definitely. Now again, you stepped out on faith. Mercedes De La Cruz: I did. Oh yeah. Vincent Ferguson: Right. Mercedes De La Cruz: I do that a lot. Vincent Ferguson: Faith. And you had no agent. Okay. Mercedes De La Cruz: Nope. Vincent Ferguson: Nope. So did you have to audition for your first show, for your first movie? Mercedes De La Cruz: First things first when I got to Vancouver, this was before everybody had computers. Right. So I was going to internet cafes when that was the thing. Vincent Ferguson: Okay. Mercedes De La Cruz: And I doing up my resume at the internet cafe and I was looking for an agent and I was sending my resume to all these different agencies. And then you would have to audition for your agent. They would want to see what you were like. Vincent Ferguson: Yeah. Mercedes De La Cruz: And I mean, I was lucky. I'm ethnically ambiguous so I can play a lot of different roles. And that's definitely something that agencies would like to have. I have like a Hispanic look. I'm very mixed, so I can play a lot of different things. Vincent Ferguson: Yeah. Versatile. Mercedes De La Cruz: Yeah. Very versatile. And in Vancouver, there's very few Hispanic actors. So I did have a pretty big pick of agencies that I could go with, but still I had to audition for that. Mercedes De La Cruz: And in the beginning... I mean, I already had acting credits, I had experience. And I had been taking classes and I had already had a resume of work that I had done, but it was different. Like now I'm in a city where there's TV shows. Right. And I've never been on a TV show before. I didn't even know what that looked like. So I started doing backgrounds and for, I think probably two years, I did background work, which was great because it got you or got me to see how that all works. Vincent Ferguson: Right. Mercedes De La Cruz: Right. What everyone's job is in the production, the hours, and also just like the craziness of having to do the scene over and over and over again. And it's like Groundhog day, right. Mercedes De La Cruz: Not only that let's say it's a party scene and you're dancing at a club. Well, you'll have to do a take where you're dancing with music. Then you have to do a take with dancing without music, probably a few times. Then you have to do it again because you have this person's dialogue and then it's the other person's dialogue. And then there's going to be times where you're supposed to talk to the people that are around you. And other times you have to pretend that you're talking to these people because they don't want to have any sound. It's crazy. Vincent Ferguson: Yes. Mercedes De La Cruz: Yeah. So that was really interesting. And then of course, for anything that I was wanting to be part of it, definitely an audition process. I mean, I was new to the city. I didn't know the casting agencies. Mercedes De La Cruz: I didn't know of casting. I didn't know anybody. Right. So I was going in like completely blind. And I mean, even just to get to these places at the time... I don't think I had a car when I had first, when I first moved down there. Yeah. I don't know what happened there. So I was like taking the bus to weird places and getting lost. Vincent Ferguson: Yes. Exactly. By yourself. Mercedes De La Cruz: Yeah. Everything that happens when you move to a brand new city and you're young and naive, but it worked out great. Vincent Ferguson: Yeah. It definitely worked out. Mercedes De La Cruz: Now it's a different beast as you've been in the city longer, you know the people and it's not so scary. Vincent Ferguson: Right. Exactly. Exactly. But it's worked out for you in Vancouver. All right. Most of your success has been there, correct? Mercedes De La Cruz: Yeah. Vincent Ferguson: But I understand you're no longer in Vancouver is that a fact? Where are you now? And why did you move from Vancouver to where you are now? Mercedes De La Cruz: Yeah. All right. Well, where I am now is Belgrade, Serbia. Vincent Ferguson: Serbia. Oh my goodness. Mercedes De La Cruz: Serbia. Yeah. It's been a while wild ride. Vincent Ferguson: Wow. Mercedes De La Cruz: I didn't even really know much about Serbia until a few years ago. My, partner, my boyfriend, Mario Milanovich, he is Serbian born in Belgrade, but didn't actually live here. He lived in Germany and then Canada and sometime in the U.S. But about five years ago, he came back for some business and we had started to take trips here and we really enjoy it. The people are so welcoming. The food is so fresh. Like GMO, what? They don't have that here. Vincent Ferguson: Really? Nice. Mercedes De La Cruz: No, I mean, it's incredible. And the prices are like... Gosh, you go to the farmer's market and you get bags and bags and bags of produce and it's like five bucks. And the tomatoes are the size of like two hands. Vincent Ferguson: What? Mercedes De La Cruz: It's wild. Yeah. Beautiful. Vincent Ferguson: Really? Mercedes De La Cruz: So anyways, we had been coming back and forth for some time and really enjoyed it. And then when COVID happened, it was challenging in Vancouver. The prices are really expensive, property's expensive, my bills were really high and I wasn't working. So I found it quite challenging to sustain my regular lifestyle. And my partner really wanted to get out of the west. So he came out to Serbia and he persuaded me to come too. Vincent Ferguson: Yeah. Whoa. Yes. Mercedes De La Cruz: So yeah, I did kind of what I did in Vancouver I gave all my things away. I also had an energy healing business in Vancouver. I closed the doors of that. I gave everything, I owned away like all my clothes, all my accessories. I used to style shoot too so I had closets full of yeah, full of everything. And I gave everything I owned to friends and whatever else I wasn't able to give away I gave to charity. And I packed two suitcases and moved to Serbia. And I mean, I didn't know the language. I didn't have any friends or family here. I didn't know what I was going to do. I didn't even know if I was going to act. I was just, again, going on faith- Vincent Ferguson: Really. Mercedes De La Cruz: ... Yeah. And I said, "All right, universe. All right, God, I know that everything's always working out for me so let's just dive in and trust that everything that I desire is still going to be accessible." And then I'm just going to do it and so I did. And within like a month, I got acquainted with an amazing acting coach from New York City, Adam Davenport. Yeah. And he's a phenomenal human being. He's now my acting coach and publicist. And he started an acting school out in Serbia, believe it or not because he came to prep for a movie that he was doing and he is a phenomenal acting coach to begin with in New York. He won like to top 10 acting coaches in the region. So when he came out here, he thought, "All right, I'm going to start a school." So I joined his acting school and met friends that way and got acquainted with casting agencies. And lo and behold, I end up working on a Hollywood movie in Serbia. Vincent Ferguson: Really? Mercedes De La Cruz: Yeah. Vincent Ferguson: A Hollywood movie in Serbia? Mercedes De La Cruz: Yeah. Yes, in Serbia. I've been trying to break into the Hollywood scene for some time and I'd done some small roles here and there or whatever, but I would've never thought that coming to Serbia would land me a role in a legendary picture, feature film. Vincent Ferguson: Amazing. Mercedes De La Cruz: But it did. Vincent Ferguson: Yes. Mercedes De La Cruz: Yeah. Vincent Ferguson: I was just going to say, I was going to ask you, well, most actresses if they want to make it big, they'll usually travel to Hollywood. Okay. But you traveled to Serbia and ended up in a Hollywood movie. Mercedes De La Cruz: Yeah. Yeah. Vincent Ferguson: So, how is the film industry out there? Is it booming? A lot of opportunities for you? Mercedes De La Cruz: Yeah. Actually, it's fantastic. They really have a good foundation for productions to come here now. They have tons of crews ready to go there. The government is offering a tax incentive. It's also cheap. Right. The labor is inexpensive. Vincent Ferguson: Wow. I see. Mercedes De La Cruz: And it's not unionized out here. Vincent Ferguson: Oh, it's not. Mercedes De La Cruz: No, I know it's very different in Serbia. They didn't even have any agents here up until this past year. So even all the actors, they just represent themselves, which is something that is unheard of in the west. Vincent Ferguson: Crazy. Mercedes De La Cruz: Yeah. It's all who you know, right. So you end up knowing casting directors or casting agents and they will find their roles that way. And it's super unusual. But because of that the pay is very low typically for the actors out here. So when a production from, let's say, New York or Los Angeles comes here and they're paying bigger rates, it's a big deal. It's a big deal for the actors here. Vincent Ferguson: Yeah. I could imagine. Must be fighting to get a role. Mercedes De La Cruz: Yeah. But I mean, we always are anyway. Vincent Ferguson: It's so interesting though, because again, wherever you go you seem to land on your feet? Mercedes De La Cruz: Absolutely. Vincent Ferguson: And we're going to talk about that, but I know that you, again, after reading your bio and you've mentioned you are classically trained ballerina. I also understand you are a Miss Hawaiian Tropic as well as being a successful actress, but which tells me that you are someone who pretty much takes care of her body. And yet at one point in your life, you had a drug and alcohol problem. How did that come about and what steps did you take to kick that habit? Mercedes De La Cruz: Well, I've always been very good to my body and then also not so good to my body. And I think primarily... Gosh, like how did it start? I don't know. I mean, I think it first starts like, you're just a kid and you're having fun and you're drinking and partying with friends and then you get a little older and you're still drinking and partying with friends and then maybe your friends are getting out of that and you still kind of doing it. It was a progressive thing for me. There wasn't any specific incident where it was super traumatic and I wanted to escape. But I found as the years went on, I did use it for escapism. Like there's beliefs that were going on, maybe beliefs of not being good enough or worthlessness or lack, right. Mercedes De La Cruz: Or fear. And I think rather than having to feel those feelings, it's so much easier to just numb it out. And that's what I did. And I think also another big part of it was my lifestyle. I had all these jobs and some of them were in nightclubs and some of them were in lounges and bars. And some of them were like in party scenes. Like when I had that marketing and promotions company, I was putting on big events, traveling all over with other models. Even like with the Miss Hawaiian Tropic stuff, you're with other gorgeous women at parties and they're offering you whatever, drinks and drugs. And so, it's a party until it's not a party. Vincent Ferguson: Right. Exactly. Mercedes De La Cruz: Yeah, I think that's really what happened for me. But I think the longer that I drank and did those drugs, the more I felt those feelings of worthlessness. Like the depression would set in the next day. And for five days after, and I hated myself and I hated my life. And it would take for me to get like, "Okay, I got to get up, dress up, show up, get to the gym." Right. And I would do this cycle thing. Okay. So I party all weekend and then come Monday, I'm back at the gym. I got to get my body back and I started feeling better by Friday. And then here we go, party again on the weekend. So I think it was for me, I had to hit a place that was kind of like a rock bottom where I just couldn't do this anymore. And from that, I was able to make some changes, but it wasn't until I put the alcohol down completely that I could make any change. Vincent Ferguson: Okay. So you did this on your own? No one came to you. You didn't go to a drug rehab program, alcohol anonymous, anything like that? Mercedes De La Cruz: Oh my God. No, I tried everything. Vincent Ferguson: Oh, you did? Mercedes De La Cruz: Oh, sure. God, must've been nearly a decade ago now when I chose to quit drinking. I was like, "Okay, there's got to be a better way. Enough is enough." And I was on a spiritual path. I knew that there had to be a better way and I wanted to shift my perspective. And in that I went and stayed at a spiritual retreat center for three months. And I mean, it wasn't a rehab facility, but it was for anybody, anybody who wanted to make a shift in their lives. I started something that I sort of made up called the Yes Experiment where I would say yes to anything that came into my experience. Mercedes De La Cruz: And so if someone was like, "You should try this course." I would say, "Yes." "You should go to AA." I said, "Yes." "You should get a sponsor." I said, "Yes." So I did absolutely everything I could get my hands on. I've gone for silent meditation retreats. Like the Pasana where you meditate for 10 hours a day, 10 days straight, which is a hundred hours of meditation- Vincent Ferguson: Really? Mercedes De La Cruz: ... in 10 days. Yeah. And in that you can't talk to anybody. You can't look at anybody, you have to keep your gaze down. Yeah. That was interesting. I've gone and done like Ayahuasca ceremonies, probably 20 of them. I've gone and done like dark room meditations. I've gone for different sort of body work, energy work. Oh my gosh. You know what? I probably have a list of like 40 different things that I've tried. Vincent Ferguson: Really. Really. Unbelievable. Mercedes De La Cruz: I did not do it alone. Vincent Ferguson: Most definitely. I guess I have to wait for the book to come out right, on your life. Mercedes De La Cruz: Pretty much. Vincent Ferguson: Because I also know that you studied a course called A Course in Miracles. That book, that course was written by Marianne Williamson, correct? Mercedes De La Cruz: No. Vincent Ferguson: This is the original. Mercedes De La Cruz: Yeah. The original is not. The original is actually it was written by Automatic Writing and it was Ellen Schulman. And this was in the seventies and her and her partner, they were psychologists or psychiatrists. No psychiatrist, yeah, at a university. And at the university, it was really having lots of issues and it was going downhill and their faculty was really having a hard time. And her and her partner Bill Thetford, we're like, "Okay, something's got to give." And Ellen started hearing voices in her head. And the voices were saying, "This is a course in miracles, take notes." And at first she thought she was crazy and she didn't want to do anything with it. And she thought, "Oh my gosh, this sounds like schizophrenia." And being a psychologist, this doesn't sound good. So eventually as time went on, she eventually told Bill like, "Look, I got to tell you something. I'm hearing these voices. What do you think I should do?" And he was like, "Did you ever think of taking notes?" Vincent Ferguson: Yeah. Mercedes De La Cruz: Because that's what the voices were saying. Vincent Ferguson: That's good. Wow. Mercedes De La Cruz: [crosstalk 00:26:11] take notes. So she did, she started taking notes and went and showed him the next day. And as he read what she wrote he was like flabbergasted. It was the words of, and this is I mean, it sounds crazy, but Jesus. And specifically, she was an atheist Jew or something like that. So, I mean, this was not something that she was writing herself, but it was very old English, which is not the way that she spoke. But they ended up writing this whole thing. And it was seven years, it took them to write this book. And then there's the Course and there's 365 lessons one per day. And it's all about changing your perspective. And so the Course in Miracles was really transformational for me because, I was stuck in this point of view of believing these ridiculous beliefs about myself and with the shift of perspective you can start seeing how the things that maybe I thought at one time, maybe aren't true. Right. Yeah. Vincent Ferguson: So this has changed your life and your whole perspective on life? Mercedes De La Cruz: Absolutely. I mean, and that's where it started. There's different ways of saying it. There's tons of different books and even like Landmark Personal Development Program was kind of the first step that I had in that direction when I quit drinking. And the same thing, it's about shifting your perspective. And it's like, this is the story and this is what I made up about the story or what the story means about me. Right. And so it's that distinction between this is actually what happened, and this is what I feel happened. And when I can separate the two, I'm not a victim anymore. And when I'm not a victim anymore then I have control and I can choose the kind of reality that I wish to perceive or to have more of or to create. Vincent Ferguson: Hm. Very, very deep. Mercedes De La Cruz: Thanks. Vincent Ferguson: And I love it. Do you believe in miracles or do you believe that we create our own miracles? Mercedes De La Cruz: Well, I think both. I think a miracle and even in the Course in Miracles, what they talk about is a miracle is just going from fear to love. In our experience we oscillate all day long where we're in love... And when I mean love, I don't mean like romantic love, but just feeling joy, peace, freedom, all of that. And when we're in fear, we're feeling anything either than peace, love, and joy. So it could be annoyance. It could be when I say fear, not just fear of like the dog, but like fear of tomorrow, the future, the path. It could be heartache. It could be loneliness, like all of these emotions are all under the fear category. And so the miracle is being in a state of that and then being able to get out of it right and shift to that love state. And I think that's what we're doing all the time. Right. We want to spend more time over there. And when I'm over there, then I get to create more of that because whatever I'm focused on, I get more of. So it's simple. It's just not easy. Vincent Ferguson: Definitely not. But whatever you focus the most of your time and energy on that's what you bring out. Right. That's what you bring about. And it's easy to say, but it's hard to focus on what you really want. Mercedes De La Cruz: Well, yeah. We're so imprinted and patterned with this looking for what's wrong rather than looking for what's right. Vincent Ferguson: Exactly. Do you believe there is a higher power that directs your life? Mercedes De La Cruz: I definitely believe that there's a higher power. I don't necessarily think that it's directing my life. I believe that it's there if I want to take it. I believe I'm directing my life, but when I let go and relax and I trust then I can go with the flow. But because I have free will I can push away from that flow- Vincent Ferguson: Yes. Easily. Mercedes De La Cruz: ... anytime I want. Vincent Ferguson: Exactly. Yes. Yes. So true. So true. Now at this stage of your acting career and your life, how important is fitness? Mercedes De La Cruz: Wow. It's very important to me. Fitness and nutrition both are very important, but it's in a different way. I used to be a crazy gym rat, like I would spend three hours a day at the gym. And I'm that girl that like, if I'm supposed to do 10 pushups, like I'll do 50. Vincent Ferguson: Wow. Mercedes De La Cruz: Like I pushed myself so hard almost to a detriment because I didn't listen to my body for a really long time. And I didn't know how. I think as human beings, we were raised where our parents said, "Listen to me, I know better." Or the teacher says, "Listen to me, I know better." Or the doctor says, "Listen to me, I know better." Nobody said like Follow your inner guidance system. You know what to do." Vincent Ferguson: Right. Mercedes De La Cruz: Nobody said that. And because of that, we don't trust ourselves. We don't trust how our body feels. We don't trust these little bits of insight maybe, or intuition that we get. We don't know that we know. And so forever, I kept reading books about what I thought I should do for fitness or reading books about what I thought I should do about nutrition. And now I do the opposite, I do what I can and I do what lights me up. And with food, I eat what I want. And I don't mean it in a way of like, eat donuts all the time. But I used to have this point of view that I'm supposed to eat breakfast, lunch, dinner, then three snacks in between. And like don't eat after six and all of these things that we read or we heard, and that's fine and dandy, but like, that's not what my body's asking for. Vincent Ferguson: Ah, yes. Mercedes De La Cruz: Right. So it wasn't until I took food away entirely. I became a breatherian. Which a breatherian is somebody who sustains their life force energy by A changing your mind to what's possible in breathing exercises. And in that you don't have to eat food. I know that sounds wild, but I did that for half a year. Vincent Ferguson: Really. Mercedes De La Cruz: Yeah. And at first I thought, oh my gosh, there's no way that I'm going to be able to have any energy or whatever. And it was actually the opposite. Vincent Ferguson: Really. Mercedes De La Cruz: Yep. I had more energy than I had ever had before. I didn't need to sleep as much. And this is why, this is what they say. And I mean, I don't know the facts behind it, but what they say in breatherianism is that we use 80% of our energy to digest our food. Mercedes De La Cruz: So if that's the case and you get up in the morning and you eat, and then you eat lunch and then you eat dinner and then you eat before bed well, you're digesting all day long using 80% of your energy. That means that you're working on 20% energy all day. Vincent Ferguson: Wow. Mercedes De La Cruz: Well, how are you supposed to like drive your car, be creative, basic motor function, have conversations, like that's tough. Well, you take all that digestion process away and all of a sudden you have 80% more energy. So you can be more creative. Your body can heal throughout the day, rather than waiting for you to fall asleep when you're finally not eating. Things like that. So anyways, long story short, I wanted to throw that in there just to say, when I took all the food away and realized that these points of view that I had around... I mean, we were told no food or water for three days, you'll die. Right. Vincent Ferguson: Right. Mercedes De La Cruz: I think of a common "fact". Well, I've gone seven days with no food and no water and I wasn't thirsty or hungry and I could have went longer I was just bored. Vincent Ferguson: Oh my goodness. Mercedes De La Cruz: What I believe will then become my reality. And so that's why it's important to change your mind to what's possible. In doing all of that, I realized like my body will tell me what it needs. And because I took everything away, I could just start implementing what I needed. I wouldn't call myself a breatherian anymore. However, I might go a couple of days without eating and then maybe I'll go a few days with eating a lot. Or maybe I won't have breakfast for a while. Maybe I'll decide, I just want salad. But I just listen to my body and I give it what it desires and I don't have any problems. I feel light. I feel more energetic. Vincent Ferguson: Yeah. Mercedes De La Cruz: I have more energy to go out and... I started running. Like, I didn't think I was a runner. I started doing that. And I love working out. I love working out in the gym. I love heavy weights, but I don't go as crazy as I used to. I just do what feels good. Vincent Ferguson: And you listen more to your body. Correct? Mercedes De La Cruz: That's it. Vincent Ferguson: Amazing. Now you recently wrapped up filming, as I mentioned, a co-lead and the feature Because You're Dead To Me but you said you also wrapped up a movie called The Machine. Talk about that for a minute. Mercedes De La Cruz: Well, yeah. The Because You're Dead To Me is an independent film that we shot in Vancouver. And right now it's being sent to festivals. So we'll see what happens with that. And then The Machine is a Legendary Pictures, feature film from LA. And that movie is about Bert Kreischer. He's a comedian in the U.S. and you can actually watch his special on Netflix. He's hilarious. Vincent Ferguson: Nice. Mercedes De La Cruz: Yeah, he's a jolly dude that doesn't like to wear a shirt. So he's usually topless in all of his spandex. He just doesn't like the way it feels, he's so funny. And actually doing the movie, he wasn't wearing clothes for most of that. I mean the top, he had pants on. Anyway. Yeah. So he's a hilarious comedian. And he has a standup routine called The Machine. Mercedes De La Cruz: And what it's about is him in college taking Russian, which he actually thought was Spanish in the beginning, but is like that good of a student that he didn't realize. He wanted to get out of the class and the teacher was like, "Look, we need X amount of students for this to be a class, just stay in the class and I'll give you a C." And he was like, "Okay." Vincent Ferguson: Really. Cool. Mercedes De La Cruz: And she's like, "You don't have to do..." Yeah, "You don't have to do anything. Don't worry about like writing tasks. I'll just give you a C." And he was like "Score." So he took it. And after four years of Russian, they went on a class trip to Russia where he got involved with the Russian mob. And it's a hilarious skit that he does all about that. So for the movie it's about that. And then 20 years later, him and his dad get abducted by the Russian mob for things that they believe that he did 20 years prior. So it's Bert Kreischer and Mark Hamill plays his father who was Luke Skywalker. Vincent Ferguson: Mark Hamill. Mercedes De La Cruz: The original Luke Skywalker. Yep. And yeah, and I'm in that and I play his teacher. Vincent Ferguson: Nice. And you said you wrapped it up. So is it going to be released in a film or Netflix? How is it going to be released? Mercedes De La Cruz: Well, it's a feature film. So Legendary Pictures also did like Godzilla, The Hangover, they're a big production company. Yeah. I believe it's going to be a Hollywood blockbuster. I don't know when they're going to release it. I don't know. I don't know what's happening with that now that so many productions were probably put on hold because of COVID and maybe aren't released yet because all the theaters aren't back in running. I don't really know. Vincent Ferguson: Right. Right. Mercedes De La Cruz: But I do know that Bert right now is on tour with his standup. So he's probably promoting the movie and hopefully it will be out maybe by next year, I'm hoping. Vincent Ferguson: Yes. I hope so, too. It sounds great. It really does. How can my listeners find out more about you Mercedes? Mercedes De La Cruz: Well, you can check me out on Instagram. I'm Mercedes De La Cruz one. Also, you can look me up on IMDB and my IMDB link is on my Instagram page, also Facebook. But I post on Instagram a few times a week, at least. And I'm always talking about what I'm up to in my stories. And I make little videos here and there as well. And I post a lot of modeling pictures and people can reach me that way. I've also helped people out, when it comes to getting clean and sober, giving advice, whatever. So if anybody needs a hand with anything like that or just wants some advice, drop me a line. Vincent Ferguson: And they can do that via Instagram? Mercedes De La Cruz: Yeah. Vincent Ferguson: Nice. Well Mercedes De La Cruz on behalf of body sculpt of New York, that's my nonprofit organization, and Six Weeks of Fitness I truly want to thank you for coming on my show today. Mercedes De La Cruz: Thank you. Vincent Ferguson: And to my listeners, I truly hope this program was informative, encouraging, and inspiring, and that you will continue tuning in to our Six Weeks to Fitness podcast. If you have any questions, comments, or suggestions for the show, please leave them on my Six Weeks to Fitness blog at www.6weekstofitness.com or email me at vince@sixweeks.com. And don't forget to subscribe so you don't miss any future episodes. Mercedes De La Cruz: Bye.  

Mark and Nicole were back in a studio for the first time in over a year and they welcomed the world's most prolific director Dustin Ferguson and his sister Breana Stier of the YouTube show "Breana's Bananas" as well as Breana's husband Daniel and Dustin's partner Jarad Allen, both of whom have been acting in Dustin's films. Dustin and Breana talked about growing up in Nebraska as quite opposite personalities. Dustin has filmed 8 films since he was last on the show in October including an upcoming Stephen King adaptation and Amityville in The Hood. Mark asked him about his past films Apex Predators (formerly titled Jaws in LA) and Horndog's Beach Party where Dustin "explained" the logistics of a diarrhea scene and his incongruous dance scene taken from one of his rap videos. Dustin also talked about working with Academy Award nominees Sally Kirkland and Eric Roberts and their differing acting styles and demands. This show is brought to you by Audible go to to www.audibletrial.com/dms for a free audiobook, free Audible originals and 30 day free trial to Audible Raze Energy Drinks Go to https://bit.ly/2VMoqkk and put in the coupon code DMS for 15% off the best energy drinks. Zero calories. Zero carbs. Zero crash. Renagade CBD Coming soon to www.renagadecbd.com

A Belarusian government-funded propaganda action film featuring Sally Kirkland and ERIC ROBERTS? That sort of thing is par for the course on Eric Roberts is the Man REDUX. On this episode we're joined by writer/podcaster Robert Skvarla to talk about male enhancement, smoking pot, JOKER, and 2016's THE CODE OF CAIN. All that and the latest Eric Roberts news, so why not listen? The post Episode 103: ERIC ROBERTS IS THE MAN REDUX – THE CODE OF CAIN (2016) appeared first on Eric Roberts is the Man.

A Belarusian government-funded propaganda action film featuring Sally Kirkland and ERIC ROBERTS? That sort of thing is par for the course on Eric Roberts is the Man REDUX. On this episode we're joined by writer/podcaster Robert Skvarla to talk about male enhancement, smoking pot, JOKER, and 2016's THE CODE OF CAIN. All that and the latest Eric Roberts news, so why not listen? The post Episode 103: ERIC ROBERTS IS THE MAN REDUX – THE CODE OF CAIN (2016) appeared first on Eric Roberts is the Man.

Dominick LaRuffa Jr. is a Brooklyn native who has established himself in recent years as an in-demand actor with roots across multiple disciplines. His film credits include Lazy Susan opposite Sean Hayes, Matthew Broderick and Allison Janney, the critically acclaimed coming of age drama Sarah Q, opposite Burt Young and Sally Kirkland, and Martin Scorsese's Academy Award nominated The Irishman. Selected off-Broadway credits include How Alfio Learned to Love and My Big Gay Italian Wedding. Mr. LaRuffa is also an accomplished theatrical producer whose credits include Deaf West Theatre's Tony nominated remounting of Spring Awakening, the Tony nominated original Broadway production of An American in Paris, and the Tony Award winning All the Way. He is also currently Tony nominated for 2019's critically lauded revival of Betrayal.Cocktails at Table 7- Inside New York’s Joe Allen is produced and hosted by Jason Woodruff, Dana Mierlak and Sean Kent, with music by James Rubio and logo and artwork design by Christina D’Angelo. The Producers would like to extend a special thank you to the owners of Joe Allen, Orso and Bar Centrale Restaurants.

NOW AVAILABLE ON FOWL PLAYERS RADIO!!! www.fowlplayersradio.comPlease welcome comedian, actor, and author Jason Stuart!!Jason shared some very interesting tales from his journey in the entertainment business; as a result of a chance meeting with Shelly Winters, Sally Kirkland, and Skip E. Lowe he ended up as an observer in The Actor's Studio. In the 80's he got into stand up comedy, performing at The Comedy Store he performed with such comedians as Drew Carey, Margaret Cho, Sandra Bernhard, Richard Jeni, Shirley Hemphill, Stephanie Hodge, Judy Tenuta, Rick Overton, and Damon Wayans.  His acting credits include a recurring role on "My Wife and Kids" as Dr. Thomas, "The Drew Carey Show", "The John Larroquette Show", "Murder She Wrote", "Will and Grace", "Charmed", and more recently on "Goliath" with J.K. Simmons and Bruce Dern, "Immortal" with Samm Levine, and "Smothered" on Amazon Prime.He is the author of "Shut Up, I'm Talking" which is available on Amazon.com.www.jasonstuart.comhttps://www.imdb.com/name/nm0835725/?ref_=fn_al_nm_1Subscribe for free at www.fowlplayersradio.com or listen on Apple Podcasts, Google Podcasts, Spotify Stitcher, iHeart Radio, Podcast Addict, Podchaser, Pocketcast, Deezer, Listen Notes, Player FM, Podcast Index, Overcast, Castro, Cast Box, or PodfriendFollow us on Facebook, Instagram, and Twitter!!The Fowl Players of Perryville are now booking Murder Mystery Shows for the late summer and fall of 2021! Indoor or outdoor venues, trains, boats, office parties, fundraisers, or just for the heck of it!443-600-0446www.fowlplayersofperryville.comfowlplayersperryville@yahoo.com

After flicking through Mackenzie Astin, Keith Coogan (yes, again), Married To The Mob, Tom Cruise, and more (Glemby) in What Now, it's on to the reviews. How do we vibe with the star ratings given to Rick Astley, Madonna, and R.E.M. -- of course -- in Listen Up? What about Moonstruck and September in Watch It? Then, once we revisit Charlie Schlatter, our very first One To Watch, it's on to the pop culture features. Christina and an Iain Blair tag-team to profile a circa-Less Than Zero Robert Downey Jr. Then John Elder pervs all over poor Justine Bateman. Dig out your copy of Kick: we Need You (to listen to our latest podcast) Tonight. Visual Aids

In this episode, Jeremy and co-host Andrew Adams talk about the martial arts movie from 1989, Best of the Best. Best of the Best (Movie) - Episode 565 The film "Best of the Best" is starred by Eric Roberts, James Earl Jones, Sally Kirkland, Simon Rhee, and Chris Penn. It's plot basically revolves around the competition of US and Korean Martial Arts teams. In this episode, we got two opposing views from Jeremy and co-host Andrew about how great or bad the film "Best of the Best" is. Listen to find out more!  

Sally Kirkland is a film, TV, and theater veteran since the 1960s and is probably best known for the film "Anna," for which she garnered the Best Actress Oscar nomination and won the Best Actress Golden Globe, the Independent Spirit Award, and the LA Film Critic's Circle Award. Sally has appeared in over 200 films.Feisty and hard-working, Sally has made an indelible mark on Hollywood history. Born in New York City, her mother was the fashion editor at Vogue and LIFE magazine. Sally began her career on the off-Broadway circuit and trained under Lee Strasberg.Sally's first director in 1964 was Andy Warhol in "13 Most Beautiful Women." In 1968 she became the first nude actress in American history performing in "Sweet Eros" by Terrence McNally.Her notable films include: "The Sting," "The Way We Were," "Coming Apart," "Cold Feet," "Best of the Best," "Revenge," "JFK," "ED TV," "Bruce Almighty", "Coffee Date" and "Archaeology of a Woman". In the past couple of years she has starred in "Buddy Solitaire", "Gnaw" and "The Most Hated Woman in America" co-starring with Melissa Leo and Peter Fonda. She was nominated for Best Actress in a TV movie by the Hollywood Foreign Press for "The Haunted- A True Story." Her television credits include: guest starring on "Criminal Minds," recurring on "Head Case" and "the Simple Life." She guest starred on "Resurrection Blvd," and in the TV movie, "Another Woman's Husband." Sally had a recurring role on "Felicity," starred on the TV movie, "Brave New World," "Song of Songs" and was a series regular on the TV show "Valley of the Dolls."Sally is also an exhibited painter, poet, renowned acting coach and ordained minister in the Church of The Movement of Spiritual Inner Awareness (MSIA).

In episode 40, we catch up with Award Winning Film Composer, Grammy Voting Member, and Music Producer, Eddie Torres. Eddie's compositions have been recognized in Amsterdam, London and in South Europe (Spain) - winning Best Original Score awards. Eddie has also received Film nominations for Best Original Score in Italy, Spain and in New York. Eddie’s vote counts for both the Grammy and Latin Grammys in four categories – no small feat considering The Recording Academy demands an impressive list of commercial credits to be accepted as a member. He was also a board member for the Academy’s Chicago chapter (Gospel Task Force Committee). Expanding on his success in music for film and other projects, Eddie has composed music for TV shows such as Murder For Hire (Oxygen), Long Lost Family (TLC) License To Kill and Super Nanny (Life Time), but has also produced artists such American Idol Devin Velez. Eddie recently signed to new feature film Life Ain’t Like The Movies releasing 2021. Eddie has also produced TV jingles for Telemundo Chicago, Del Ray Farms and TCF Bank. His original music score can also be heard on a documentary Self Serve included Hollywood actors such as Oscar nominated actress Sally Kirkland, creator of Final Destination Jeffery Reddick. Eddie’s voice is heard through his character Apple Peace, a 3D animation (The Fruit Gang) titled You Are Special on Amazon and also served as senior sound producer. It began on the streets of Chicago’s Wrigleyville neighborhood. Eddie was nine years old when his father put a $26 guitar in his hands. Ever after, he considered himself a musician. By age 11, he was playing multiple instruments. In his teens, he lined up gigs for his band: concerts, corporate events, weddings and fundraisers. In between parking cars for Cubs fans and performing, he began using second-hand recording equipment to piece together his own music. By his twenties, Eddie worked a full-time job started a family and produced music from his studio in Chicago at night. The round-the-clock demands took a toll so he chose his passion for making music, opening Rushing Wind Productions in 2002. After relocating to Chicago’s west suburbs, he constructed an acoustically-sound, stylish 1,000-square-foot home studio in 2007. One look around Eddie’s studio tells a story: Walls are papered with endearing notes praising Eddie’s professionalism, tireless work ethic and musical imagination. Eddie’s work spans the globe. From Jersey shore musicians to directing a live church band in Peru to recording projects from Brazil, Israel, Puerto Rico, Georgia and India, collaborators trust Eddie’s agility to embrace the cultural undertones inherent in a creative theme. Eddie’s deep faith and talent for dramatic musical effect has connected him with many Chicago-area churches from small congregations to mega-churches. Among his many Christian music credits, he served as music director in some of them and producing some church projects. Eddie lives with his beautiful wife of over 30 years Juanita and has two kids and one grandson. Joshua, Alexa and grandson Logan. What is one of Eddie’s most memorable projects? Co-writing and producing the original track Never Forgotten with his daughter, Alexa which available on iTunes. The song, with bright overtones of ukulele/reggae/pop, was inspired by the memory of people loved and lost. For more information go to: www.eddietorresmusic.com. * * * Watch Life hacks for Entrepreneurs Episode 10 here: https://youtu.be/ckiBNv5lqvM * * * Special thanks to our episode sponsor MRDEU Global Media. For more info visit www.mrdeu.com & The Weight Loss Warehouse.

Sally Kirkland, Best Actress Oscar Nominee, Golden Globe winner, Independent Spirit Award winner, LA Film Critics Circle Award winner, and veteran of over 200 films. Feisty, hard-working, famously liberal, with the trademark blonde hair, actress Sally Kirkland has certainly made an indelible mark on Hollywood history. 2014 Interview was conducted by Romeo Carey and Robbie Curtis in Los Angeles, California. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/romeo-carey/message Support this podcast: https://anchor.fm/romeo-carey/support

In this episode the guys watch 1989's Best of the Best, staring Eric Roberts, James Earl Jones, and Sally Kirkland, then give their rating on the films rewatchability.  https://www.imdb.com/title/tt0096913/

Short Story:   The Facts in the Case of M. Valdemar (1845) The Black Cat (1843) Film: Two Evil Eyes (1990) ​ The Italian-American horror two parters is directed by George A Romero and Dario Argento where each film their favourite Edgar Allen Poe story. ​ The film stars Adrienne Barbeau, Harvey Keitel, Sally Kirkland, Kim Hunter, John Amos, Julie Benz, E G Marshall, Madeline Potter and Martin Balsam. ​ Romero's side of the film has special effects by Tom Savini.  Both films were filmed in Philadelphia .   We urge all our listeners to listen to this fantastic podcast – The Story Geeks available by clicking on this link:  iTunes:    or Website:  or TuneIn Radio   Opening Credits; Introduction (1.32); Story Geeks – What to Watch This Week (8.20); Forming the Plot (12.33); Film Trailer (14.37);  Lights, Camera, Action (15.39); Epilogue (57.36); End Credits (1:15.39); Closing Credits (1:17.08)   Opening Credits– thanking Purple Planet Music for our fantastic Opening Credits.   Closing Credits – Rose Garden – Lynn Anderson – taken from the album Rose Garen – copyright 1970 Columbia Records   All rights reserved.   Available through Amazon  

Short Story:   The Facts in the Case of M. Valdemar (1845) The Black Cat (1843) Film: Two Evil Eyes (1990) ​ The Italian-American horror two parters is directed by George A Romero and Dario Argento where each film their favourite Edgar Allen Poe story. ​ The film stars Adrienne Barbeau, Harvey Keitel, Sally Kirkland, Kim Hunter, John Amos, Julie Benz, E G Marshall, Madeline Potter and Martin Balsam. ​ Romero's side of the film has special effects by Tom Savini.  Both films were filmed in Philadelphia .   We urge all our listeners to listen to this fantastic podcast – The Story Geeks available by clicking on this link:  iTunes:    or Website:  or TuneIn Radio   Opening Credits; Introduction (1.32); Story Geeks – What to Watch This Week (8.20); Forming the Plot (12.33); Film Trailer (14.37);  Lights, Camera, Action (15.39); Epilogue (57.36); End Credits (1:15.39); Closing Credits (1:17.08)   Opening Credits– thanking Purple Planet Music for our fantastic Opening Credits.   Closing Credits – Rose Garden – Lynn Anderson – taken from the album Rose Garen – copyright 1970 Columbia Records   All rights reserved.   Available through Amazon  

Dave and Chris Ying are joined by ESPN’s Mina Kimes to discuss the truly nonsensical martial arts film ‘Best of the Best,’ starring Eric Roberts, James Earl Jones, and Sally Kirkland.

A Belarusian government-funded propaganda action film featuring Sally Kirkland and ERIC ROBERTS? That sort of thing is par for the course on Eric Roberts is the Man REDUX. On this episode we're joined by writer/podcaster Robert Skvarla to talk about male enhancement, smoking pot, JOKER, and 2016's THE CODE OF CAIN. All that and the latest Eric Roberts news, so why not listen? The post Episode 22 – Eric Roberts is the Man – The Code of Cain (2016) appeared first on Cinema Smorgasbord.

October 7-13, 1978 The remote sessions continue as this week Ken welcomes super listener, and creator of "TV Guidance Counselor Bingo", Eric Fusco, for some talk about being alone together. Ken and Eric discuss how to pronounce Fusco, Italians, birthday weeks, when baseball ruins everything, Richard Dreyfuss dramadies, Rhoda, working with people younger than you who don't know anything, shows that represent NYC, The Warriors, hardcore shows, the 1970s obsession with aliens, knowing what cars are going to get wrecked, CHiPs, Love Boat, Battlestar Gallactica, Archie Bunker, Sam the Butcher's Drinking Problem, The Gumball Rally, pimple popping, WKRP, punk rock episodes, Ray Boulger, fighting M*A*S*H with M*A*S*H, Doctor shows, surgery, SCTV, Sally Kirkland, modeling schools, Mercedes McCambridge, Vega$, U.F.O., Space 1999, Project UFO, In Search Of..., What's Happening parodies, Quincy M.E., The Muppet Show, Ken's interview with John Cleese, feeling incredibly old, horny Bernie Kopell, Wonder Woman, The Incredible Hulk, using Roddy McDowell's bathroom, the plague of tennis pros, Big John Hamilton, westernization of Chinese TV, Timeless, Time After Time, Match Game, and not always being able to relax by watching old TV.