Podcast appearances and mentions of Sally Kirkland

Based on the true story of a 20-something writer from rural Maine. Inspired by actress SALLY KIRKLAND's performance in the sleeper hit, ANNA (Oscar nominee, Independent Spirit Award and 1988 Golden Globe winner), Zack takes the leap to pursue his ambitions of a Hollywood Career. After driving cross country, in a chance encounter he meets his lifelong idol, the week he arrived. Sally hires him on the spot to be her assistant, where he quickly learns her career is a shambles. He dedicates himself to finding a way to land her back on the red carpet where she belongs.   SALLYWOOD stars Sally Kirkland, Tyler Steelman, Tom Connolly, Eric Roberts, Lenny Von Dohlen, Kay Lenz, Michael Lerner, Maria Conchita Alonso, with Keith Carradine and Jennifer Tilly. It was written and directed by Xaque Gruber and produced by Steven J. Wolfe. The film features songs by Rufus Wainwright, Toni Basil & Smokey Miles. The film has a running time of 90 minutes and will not be rated by the MPAA. It has won over 50 Awards during its festival circuit!   Buffalo 8 released the film on digital platforms on November 14, 2025.  To view the trailer, go to: https://youtu.be/BAhC50Jgd5k For more information, go to: www.sallywoodmovie.com https://www.xaquegruber.com/  SOCIAL MEDIA HANDLES: Facebook: sallywood the movie https://www.facebook.com/profile.php?id=61561341323412 Instagram: @sallywoodmovie https://www.instagram.com/sallywoodmovie/ X: @sallywoodmovie https://x.com/SallywoodMovie Stay Connected with me: https://www.instagram.com/shesallovertheplacepodcast https://www.chonacas.com/links/  

The Baller Lifestyle Podcast Episode 601 — “Penguins, Coke Cans & Crocodile Cocksmen” From TheBallerLifestyle.com — Hosted by Brian Beckner & Ed Daly Episode Summary The guys return for Episode 601 with a Thanksgiving week warm-up, chat about Ed's November beard, the horrors of AI thumbnails featuring random white dudes, and an emotional tour through this week's RIPs. They break down everything from Jimmy Kimmel's lifelong bandmate to a tragic Last Chance U figure — plus a food influencer, a one-hit-wonder frontman, and multiple legendary athletes. Then it's onto sports: a Texas state trooper's big-time bitch move, O.J.'s estate finally paying up, Matt Kalil's “two Coke can” situation, and the dangerous reality of NFL painkiller culture. The voicemails bring a penguin joke and pure chaos. In non-sports, the guys revisit Hitler's micro-penis allegations and Kim Kardashian's delusional approach to law school. Finally, the Crocodile Hunter's son is now an underwear model, Russians are dismembering crypto scammers, and New Jersey dudes are crashing DeLoreans while hauling 87 baggies of coke. Another beautiful week at TBLS. In This Episode Open of the Show Brian sets a 30-minute timer Thanksgiving episode previewed — the boys are digging into the Beverly Hills 90210 Thanksgiving episode Ed's annual November beard returns, much to Brian's annoyance AI thumbnails continue to give the show “two random white dudes who don't exist” RIP Section • Cleto Escobedo III (59) Jimmy Kimmel Live bandleader, childhood friend of Kimmel, died due to complications of cirrhosis. • John Beam (66) Legendary Last Chance U coach, shot and killed in Oakland. Influential mentor and long-time community figure. • Michael Duarte (36) — “Food With Bare Hands” Influencer with two million followers; reports call his passing a “horrible accident.” • Richard Darbyshire (65) Lead singer of 80s one-hit wonder Living in a Box. • Sally Kirkland (84) Oscar-nominated actress, early breast-implant activist. • Michael Ray “Sugar” Richardson (68) Four-time NBA All-Star known for legendary talent and a cocaine-fueled fall from the league. • Kenny Easley (66) Hall of Fame Seahawks safety, one of the great hitters of the 80s; reportedly suffered kidney issues from old NFL painkiller practices. Sports • Texas A&M State Trooper's Bitch Move Trooper shoulders South Carolina WR/track phenom Nyck Harbor, then starts yelling at him. Sent home mid-game. A&M energy at its peak. • South Carolina Coach Shane Beamer Gets Loud — Then Loses Up 30–3 at half. Ends up losing 31–30. Beautiful karma. • O.J. Simpson's Estate Finally Paying Fred Goldman More than 30 years later, Goldman may finally see millions from the civil judgment. Likely tied to monetizing OJ's likeness and closing out the estate. • Matt Kalil's “Two Coke Cans” Penis & Porn Offer Ex-wife says his size ended their marriage. Kalil now remarried to a Sports Illustrated model. Porn companies come calling. • Fantasy Football Sausage Making Painkillers, weed suspensions, tough guy culture. Ed and Brian discuss how ugly the NFL can be up close. Voicemail Corner From FanFanA penguin stops at a mechanic… ice cream… blows a seal…A classic late-stage Norm Macdonald–style journey to nowhere. The boys salute him. Non-Sports • DNA Suggests Hitler Had a Micro Penis & One Testicle A story that reappears every couple years. No one fact-checks because… who's defending Hitler's anatomy? • Kim Kardashian Failed the Bar — Blames Psychics Despite no law school attendance, Kim expected to pass because psychics told her so. The guys ask: Who would ever hire Kim as a lawyer? • The Crocodile Hunter's Son Is Now an Underwear Model Robert “Bob” Irwin drops a campaign featuring snakes and a very deliberate bulge. The internet… notices. • Russian Crypto Scammer & Wife Dismembered Stole $500 million through a fake app → kidnappers found his crypto wallet empty → heads and limbs removed. “Extortion plot” my ass — pure revenge. • New Jersey Man Crashes DeLorean With 87 Bags of Cocaine A very Jersey combination: 80s car, drug dealing, bad decisions. The boys locate the town and assess the local vibe. To Hear the Rest Patreon subscribers get the bonus content each week — including the extended show, deeper dives, and the bonus episode Fry.Patreon.com/TheBallerLifestylePodcast Follow the Show Website: TheBallerLifestyle.com Patreon: patreon.com/TheBallerLifestylePodcast Twitter/X: @TBLSPodcast Hosts: @BrianBeckner & @EZEdDaly Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week on The World’s Greatest Comic Book Podcast™, JC, Jocelyn, and Jeff assemble for more news and reviews just for you! In Tinsel Town, we remember Tom Snider, Sally Kirkland, Cleto Escobedo III, and Tatsuya Nakadai. Do we need a V for Vendetta television series? Has Jeremy Renner had enough? What new show is […]

Gay homosexuals Nick and Joseph review ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠The Girl That Got Glue Stuck in Her Hair - a 2025 film directed by Alvin Gray, starring Tessica Brown. Additional topics include:Siskel & EbertThe Real Friends of WeHoParis Jackson's noseBrad Goreski leaving Canada's Drag RaceThe deaths of Sally Kirkland, Tatsuya Nakadai, and Homayoun ErshadiJoin us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046Find merch here: https://fishjellyfilmreviews.myspreadshop.com/allVenmo @fishjellyVisit their website at www.fishjellyfilms.comFind their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms)Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson

On this episode: remembering Sally Kirkland, Whatcha Been Watching?, Teenage Mutant Ninja Turtles Trilogy Limited Edition 4K UHD, Robert's extensive popcorn bucket collection, King on Screen: Maximum Overdrive, Set-Jetter.com filming locations, and more!

Dawn shares an interesting story about the late Sally Kirkland who just passed. Bradley shares a shocking TikTok affair story, the penny is officially dead and Dawn gives us a publationship update on Scooter Braun and Sydney Sweeney. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Dean Richards, entertainment reporter for WGN, joins Bob Sirott to provide the latest news in entertainment. Bob and Dean talk about Michelle Obama’s stories of growing up on the South Side, Pope Leo’s favorite films, and the “Toy Story 5” trailer. They also discuss the death of Sally Kirkland and what’s new in home video.

NBA News, NFL News, MLB News, WNBA News, NHL News, A Farewell to Marshawn Kneeland, Terry Lee, Craig Eaton, Lee Tamahori, Mia Hamant, Steve Hargan, Richie Adubato, Paul Tagliabue, Betty Hartford, Lenny Wilkens, Mail Nail, Michael Ray Richardson, Sally Kirkland, Homayoun Ershadim & Cleto Escobedo!

In Belf's News Gallery, Greg Belfrage goes over the latest trending headlines including Hakeem Jeffries, overturning the E. Jean Carroll verdict, Sally Kirkland's death, Warren Buffet, the first snowfall, the U.S. Navy, the death penalty in Israel, and more...See omnystudio.com/listener for privacy information.

On today's episode: House returns for vote to end the government shutdown after nearly 2 months away. There's no timeline on when flight cuts will ease up after the government shutdown ends. Judge to hear arguments on law cutting Planned Parenthood Medicaid funds. ByHeart recalls all baby formula sold nationwide as infant botulism outbreak grows. Indian police detain suspects in Kashmir after deadly New Delhi car blast. Supreme Court extends its order blocking full SNAP payments, with shutdown potentially near an end. President Trump lays a wreath as the US celebrates its military veterans. Newsom tells AP the eight senators who struck the shutdown deal aren't alarmed enough about Trump. Judge adopts Utah congressional map creating a Democratic-leaning district for 2026. Oscar-nominated actor Sally Kirkland, known for 'Anna,' dies. Record-low temperatures shock the Southeast US while snowfall blankets parts of the Northeast. Christian missionary father and daughter killed in South Florida plane crash. Stocks were mostly higher on Tuesday. SGA’s Thunder handle Curry’s Warriors in a top NBA clash, a hoops executive who traded away a superstar is fired, one top 10 team avoids an upset while another falls in college basketball, the top teams in the CFP rankings remain unchanged in college football, the NFL’s reigning No. 2 pick has surgery and MLB’s top managers are revealed. NBA confirms that the All-Star Game will feature a U.S. vs. the World format this season. Ex-NFL star Antonio Brown pleads not guilty to attempted murder charge stemming from Miami shooting. Fired coach Brian Kelly lawsuit alleges LSU is declining to honor the terms of his contract. Russia makes gains in southern Ukraine as it expands front-line attacks. Syria says it is joining the anti-IS coalition but not the military one. A suicide bomber has struck outside a court in Islamabad, killing 12 people. Grieving relatives in New Delhi want news of the loved ones, after a New Delhi car bomb explosion. —The Associated Press About this program Host Terry Lipshetz is managing editor of the national newsroom for Lee Enterprises. Besides producing the daily Hot off the Wire news podcast, Terry conducts periodic interviews for this Behind the Headlines program, co-hosts the Streamed & Screened movies and television program and is the former producer of Across the Sky, a podcast dedicated to weather and climate. Theme music The News Tonight, used under license from Soundstripe. YouTube clearance: ZR2MOTROGI4XAHRX

Who is boycotting "Wheel of Fortune?" DIRT ALERT: RIP Sally Kirkland, new dating terms got us scratching our heads (and some are kind of making sense), and a credible Bigfoot sightingSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

David Waldman has some explaining to do, and just the venue to do it. Dems spent a half week too close to the sun before finding a nice familiar cave to retreat to, back safe in the protective arms of the Gop, who have promised to quit beating them, this time. Democrats had to give in, for the sake of the children. Well rested, the Capitol kicked into high gear, running like the finely tuned machine that we've come to expect. Meanwhile, Justice Ketanji Brown Jackson performed an excellent example of jurisprudential Jiu Jitsu by administrative stay to save SNAP from slow rolling.  Laura Loomer follows the voices in her head (Who sound just like Donald K. Trump) to smite Trump enemies, who never seem to include pedophiles, coal rollers, etc. Is Trump's cruelty or stupidity worse? Today's vote is for stupidity, for promoting mortgages that would take generations to pay off. Hey, at least Trump's was bigger than FDR's!  RIP today to Sally Kirkland, memorable in an almost unimaginably varied artistic career.

AP correspondent Ed Donahue reports on the death of an Oscar nominated actress.

RIP Sally KirklandSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Men of Micheaux discover actor Sally Kirkland is doing well and making new movies. Len has a mini-review of Predator: Badlands. A listener throws catnip at one of the Men by asking them to Black-cast the 1963 classic "It's a Mad, Mad, Mad, Mad World." Then a month of l'amour kicks off with a review of the 200o HBO adaptation of Terry McMillian's Disappearing Acts, featuring the incredible chemistry of Wesley Snipes and Sanaa Lathan and the knowing direction of Gina Prince-Bythewood.     Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

     This week we bring October to a close with four slashers that did not spawn franchises.     When students at experimental athletic drug enhancement focused Falcon Academy begin to disappear, no one seems to really think that much of it. They are too focused on Regionals, then Nationals, and finally their shot at the Olympics. Assuming all those drugs are ignored in testing. It's not a quarter as good as that sounds. Our first feature starring Sally Kirkland, take that as you will, Fatal Games.     A sleezy phone sex line is being targeted by a killer. Bobo does not like it when you lie to him, so he takes matters into his own hands. Lt. Myers believes the killer to be Kevin, the photographer boyfriend of operator, Kristi. No one stops to ask why someone enraged by lies obsessively calls a phone number designed to explicitly lie to you. A mostly forgotten slasher with the greatest late 80s supporting cast possible, Out of the Dark.     Six friends going to a lakeside weekend get away realize they are hopelessly lost. To correct this mistake, they pick up an on the run hitchhiker. Even their new guide isn't enough to get them where they are going so they decide to stop for the night. Instead of being reasonable and going back to the recently passed through town, they instead decide to break into an obviously still inhabited house. The penultimate film from Spanish erotic horror legend José Ramón Larraz, Deadly Manor.     Five friends on a road trip find themselves in need of assistance. Enter Mr. Slausen, owner defunct roadside attraction Lost Oasis, offers them assistance and shelter for the night. Unfortunately, Slausen's huge property is also home to a masked murdering telekinetic mannequin maker. Soon the friends find themselves in more than mortal peril. The first feature from director David Schmoeller with a great performance from sports and TV legend Chuck Connors, Tourist Trap.     All that and David feels the meh, Tyler gets hyped, Craig is still twitterpated, and Kevin begins polishing the buttons on his jacket. Join us, won't you?   Episode 437- Slash Fiction

Send us a textXaque Gruber ( https://www.xaquegruber.com/ ) is an award-winning filmmaker, writer and artist.Xaque is the writer and director of the hit independent film Sallywood ( https://sallywoodmovie.com/ ) — a touching, funny and deeply insightful look at the career of actress Sally Kirkland ( https://www.sallykirkland.com/ ), as well as current trials and tribulations navigating life and identity in the film industry. The limited theatrical release for Sallywood debuted on November 8, 2024 and Buffalo 8 will release the film on digital platforms on November 14, 2025.Through Sallywood, Xaque explores themes of ageism, resilience, and the quiet struggles faced by Hollywood's “working class” — the actors, crew members, and creatives who live just outside the spotlight but keep the dream machine running.Xaque's first TV writing credit came with reuniting the cast of his favorite 80s soap “Dynasty” for the 2006 CBS special “Dynasty Reunion: Catfights & Caviar.” Since then, he's written “The Scream Awards (Spike),” “The World Music Awards (ABC),” “The Producer's Guild of America Awards,” and many others.Xaque has written for feature length films including "M.I.A." and "Broken Roads" and for the short films "The Pistol", "THE" and  "Laurel Casey: The Hurting Truth". Before his filmmaking career, Xaque wrote for outlets including The Huffington Post, The Hollywood Reporter, and The Miami Herald, and worked in television, visual art, and education. His storytelling — across every medium — is known for its empathy, wit, and sharp social observation.Xaque is also the author/illustrator of the book "A Big Adventure In The Smallest State: A History of Rhode Island For All Ages" ( https://www.amazon.com/Big-Adventure-Smallest-State/dp/1403333262 ).Xaque has an MA in Education from Tufts University and an MS in Television Production & Writing from Boston University.Important Episode Link - Support Sally Kirkland's Urgent Medical Care -https://www.gofundme.com/f/support-sally-kirklands-urgent-medical-care#XaqueGruber #Sallywood #SallyKirkland #Ageism #Hollywood #Resilience #IntergenerationalFriendships #EricRoberts #JenniferTilly #KeithCarradine #MariaConchitaAlonso #ProgressPotentialAndPossibilities #IraPastor #Podcast #Podcaster #ViralPodcast #STEM #Innovation #Technology #Science #ResearchSupport the show

This week on Friday Night Frightfest, we're tackling a horrifying real-life case that has inspired decades of terror! We are bringing our extensive deep dive into the Conjuring Universe to a chilling conclusion by comparing the final main installment of the cinematic saga, The Conjuring: Last Rites (2025), with an older, made-for-TV movie based on the very same haunting: The Haunted (1991). The Conjuring: Last Rites (2025) Directed by Michael Chaves, The Conjuring: Last Rites is set to be the final chapter featuring Patrick Wilson and Vera Farmiga as Ed and Lorraine Warren. Based on the infamous Smurl haunting case from Pennsylvania, the film chronicles what is considered the Warrens' final significant case, where a seemingly quiet family home becomes the epicenter of a relentless supernatural siege. This installment promises a blend of atmospheric horror, high-stakes investigation, and an emotional farewell to the iconic investigators. The Haunted (1991) Directed by Robert Mandel, The Haunted is a chilling made-for-television film that also dramatizes the Smurl family's ordeal. This cult classic stars Sally Kirkland and Jeffrey DeMunn as the afflicted couple (Janet and Jack Smurl), with Stephen Markle and Diane Baker portraying the Warrens. Released decades before the Conjuring universe began, this film delivers a gritty, faith-driven, and often surprisingly graphic portrayal of the long-term, devastating effects of demonic infestation on a family. Join us as we analyze two radically different cinematic interpretations of the same real-life paranormal case. And with this episode, we officially conclude our comprehensive journey through the entire Conjuring Universe film series! Thank you for joining us for every demonic possession, haunted doll, and terrifying nun. Spoilers start around 5:26

* That Other Dylan Movie - Sally Kirkland Talks Sallywood * My Friend, The Terrorist: Part 2 on the Filipino revolutionary, Jose Maria Sison * UK Desk: Luigi, healthcare, and anger * Broe's new book, The Dark Ages: Stories, Stories And More Stories

"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.

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

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.

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.

ANOTHER SPOILER FREE EPISODE! UNLIKE PART 1, THIS IS ACTUALLY SPOILER FREE! NO CONDITIONS APPLY! 1987 Year In Review - In Part 1! Glenn Close & Fatal Attraction - In Part 1! Sally Kirkland & Anna - In Part 1! Holly Hunter & Broadcast News - In Part 1! Cher & Moonstruck - 3:08 Meryl Streep & Ironweed - 24:28 Perfecting Perfection (Our Re-Rank & Grades) - 46:32 Outro + Preview for Next Week's Episode - 57:32 Our film reviews begin with a bio/filmography for each actress, where we highlight whatever tickles our collective fancy about the actor's origin story and career achievements, including all the juicy gossip and fake news we can get our grubby hands on. We move into a summary of the story's premise, banterbanterbanter, and then we conclude each segment with a debate over the best, worst, and Oscar reel scenes. ***The retrospective comes to a close with our patented re-rank that we have the audacity to call Perfecting Perfection. Here, we re-rank the 5 nominees, compare them to all the snubs, and finish with a final rank and grade of the best films in the year. As we talk about Moonstruck, us Mikes will shockingly agree for the first and only time about greatness of the RomCom, we liken the film to an Italian version of My Big Fat Greek Wedding, and then we kinda poop all over Cher. Our final review covers the life and career of the One and only Meryl Streep and her performance in the most depressing film in the history of Oscars, Emmys, the genre of fiction, or aspect of life in general: Ironweed. Still, she's Meryl Streep; she's a super-human, and we have to marvel over her super powers. (You see what I did there.) The episode concludes with a surprising re-rank, and we enjoy a little debate about our top 5s for the best performances and pictures of the year. Please tell every single person you know, have known, or will come into contact with about our podcast. C'mon, we don't ask much. Though we're just starting out, we will slowly but surely try to increase our marketing on social and real media. So corny jokes aside, do please help us spread the word. We do appreciate it. Also, feel free to contact us for any reason, good-bad-or ugly, and we may read your words on the show. Thanks for listening.

ANOTHER SPOILER FREE EPISODE! (WELL, MOSTLY FREE.) Look, the plot of Broadcast News enrages us to the point where we spoil a few things. We also give some almost-spoilers for Anna. But the movies remain totally watchable after listening to us, and dare we say, rewatchable because of your listening to us. So please enjoy. Intro + apologies for missing the past 2 weeks - Episode Start 1987 Year In Review - 2:59 Glenn Close & Fatal Attraction - 9:05 Sally Kirkland & Anna - 31:51 Holly Hunter & Broadcast News - 50:08 Cher & Moonstruck - Coming later this week in Part 2! Meryl Streep & Ironweed - Coming later this week in Part 2! Perfecting Perfection (Our Re-Rank & Grades) - Coming later this week in Part 2! Our film reviews begin with a bio/filmography for each actress, where we highlight whatever tickles our collective fancy about the actor's origin story and career achievements, including all the juicy gossip and fake news we can get our grubby hands on. We move into a summary of the story's premise, banterbanterbanter, and then we conclude each segment with a debate over the best, worst, and Oscar reel scenes. The retrospective comes to a close with our patented re-rank that we have the audacity to call Perfecting Perfection. Here, we re-rank the 5 nominees, compare them to all the snubs, and finish with a final rank and grade of the best films in the year. During our discussion of Fatal Attraction, we strike a deft balance between sophistication and fun, tipping our caps to the illustrious career of Glenn Close and the evolution of the domestic monster movie, and then we giggle like schoolchildren as we describe the awkward nude scenes in graphic detail and theorize about the future health problems of Michael Douglas. We tout the hidden gem that is Anna and gush over the performance of the criminally underrated Sally Kirkland. But we also poke some fun at the low budget 80's soundtrack, the husband mister Daniel guy, and shots that remind us of the Face-Off poster In our spoilerish chat about Broadcast News, we somehow open with a tangent about Steve Guttenberg. So there's that. Then we laugh about how the media issues of the 80s compare to those of today, and we rage about the Brooks brothers, why Albert is such a close talker and how James L. botched yet another romantic plotline. (PS...Listen to our previous 1997 Best Picture pod to further prove our points.) (PPS...A & JL are not really brothers) (3PS...I just like puns) ...umm, & parentheses.) And that's it for Part 1! Part 2 will be coming later this week where, as stated above, we will bring to you the reviews of category winner Cher for her work in Moonstruck; the perpetual-contender Meryl for her work in Ironweed; and last but certainly not least (and yet, so very definitely least) our Perfecting Perfection segment. Be on the look-out for Part 2 dropping later this week.

Thanks for downloading this episode of Travis Bickle--if you like what you hear, please check out our Patreon page to find out more about how you can help support the show! THE SEGMENTS On this special episode your hosts Sean CODE NAME: TRIXIE, Tucker Sayonara Stone, and Morgan Wet Donut in Aliens Jeske are joined by the voice talents of: 0:00:00 -  0:02:15 - Introductions / We are launching a Patreon! 0:02:30 - 2:54:53 - Continued from Part 1, our Roundtable Brother Vs Brother bracket, featuring 32 movies from the brothers with our brother in arms Devil Brothers. Brothers? Brothers.  0:11:57 - 0:55:03 - Domino with Springheel Jeff Lester and Grim McMillan. 1:08:47 - 1:31:38 - Man on Fire and Crimson Tide with Slay Leong. 1:47:31 - 2:28:53 - Deja Vu, Spy Game, Enemy of the State, Taking of Pelham 1 2 3, and Unstoppable with Ignatiy "The Hatchetman" Vishnevetsky. THE GUESTS Morgan Jeske's latest comic is ●●●● Vol. I and it can be purchased here. He is also the co-host of this show, dummy.  David Brothers is the host of the Image Comics podcast The I Word, and hosted more panels at comic conventions this year than any human ought to.  Ignatiy Vishnevetsky is the host of Film Club at the AV Club, where you can also read his criticism. Check out his 2012 article on Tony Scott's metaphysical romances at MUBI Notebook.  Sloane Leong's currently drawing From Under Mountains, and you can purchase her solo comics here. Jeff Lester & Graeme McMillan are the hosts of the Wait, What? comics podcast.  Which is taking part of a thing with about 30 other podcasts this month, featuring everybody and all the ships at sea. THE MOVIES THE MOVIES The films of Tony Scott The Hunger (1983), starring David Bowie, Susan Sarandon, Catharine Denueve, Cliff De Young, Beth Ehlers, and Dan Hedeya. Written by Ian Davis, Michael Thomas, and Whitley Streiber. Music by Danny Jaeger and Michael Rubini. Cinematography by Stephen Goldblatt. Editing by Pamela Power. Production design by Brian Morris. Costume design by Milena Canonero. Special makeup effects by Dick Smith.  Top Gun (1986), starring Tom Cruise, Val Kilmer, Kelly McGillis, Anthony Edwards, Tom Skerrrit, Michael Ironsides, and John Stockwell. Written by Jim Cash and Jack Epps Jr. Music by Harold Faltermeyer. Cinematography by Jeffrey Kimball. Editing by Chris Lebenzon and Billy Weber.  Beverly Hills Cop 2 (1987), starring Eddie Murphy, Judge Reinhold, Jurgen Pronchow, Ronny Cox, John Ashton, Brigitte Neilsen, Allen Garfield, Dean Stockwell, Paul Reiser, Gilbert R. Hill, Chris Rock, and Paul Guilfoyle. Written by Larry Ferguson, Warren Skaaren, David Giler, and Dennis Klein. Music by Harold Faltermeyer. Cinematography by Jeffrey Kimball.  Editing by Chris Lebenzon, Michael Tronick, and Billy Weber. Revenge (1990), starring Kevin Costner, Madeline Stowe, Anthony Quinn, Tomas Milian, Sally Kirkland, Miguel Ferrer, and John Leguizamo. Written by Jim Harrison and Jeffrey Fiskin. Music by Jack Nitzsche. Cinematography by Jeffrey Kimball. Editing by Chris Lebenzon and Michael Tronick.  Days of Thunder (1990), starring Tom Cruise, Nicole Kidman, Robert Duvall, Randy Quaid, Cary Elwes, John C. Reilly, Fred Thompson, and Michael Rooker. Written by Robert Towne. Editing by Chris Lebenzon, Michael Tronick, Robert C Jones, Bert Lovitz, Stuart Waks, and Billy Weber. Music by Hans Zimmer. Cinematography by Ward Russell.  The Last Boy Scout (1991), starring Bruce Willis, Damon Wayans, Taylor Negron, Danielle Harris, Chelsea Field, Noble Willingham, Halle Berry, Kim Coates, and Bruce McGill. Written by Shane Black and Greg Hicks. Music by Michael Kamen. Editing by Stuart Baird, Mark Helfrich, and Mark Goldblatt. Cinematography by Ward Russell.  True Romance (1993), starring Christian Slater, Patricia Arquette, Dennis Hopper, Christopher Walken, Val Kilmer, Gary Oldman, Brad Pitt, Sam Jackson, Bronson Pinchot, Chris Penn, Michael Rappaport, Saul Rubinek, James Gandolfini, Victor Argo, Kevin Corrigan, Paul Ben-Victor, and Ed Lauter. Written by Quentin Tarantino. Music by Hans Zimmer. Cinematography by Jeffrey Kimball. Editing by Michael Tronick and Christian Wagner.  Crimson Tide (1995), starring Denzel Washington, Gene Hackman, Matt Craven, Viggo Mortensen, George Dzundza, Jason Robards, and James Gandolfini. Written by Michael Schiffer and Quentin Tarantino. Music by Hans Zimmer. Cinematography by Dariusz Wolski. Editing by Chris Lebenzon.  The Fan (1996), starring Robert Deniro, Wesley Snipes, Ellen Barkin, John Leguizamo, and Benicio Del Toro. Written by Phoef Sutton. Cinematography by Dariusz Wolski. Music by Hans Zimmer. Editing by Claire Simpson and Christian Wagner. Enemy of the State (1998), starring Will Smith, Gene Hackman, Jon Voight, Lisa Bonet, Regina King, Barry Pepper, Stuart Wilson, Ian Hart, Scott Caan, Jake Busey, Jason Lee, Gabriel Byrne, Dan Butler, Jack Black, Jamie Kennedy, Seth Green, Anna Gunn, Tom Sizemore, and Jason Robards. Written by David Marconi. Music by Harry Gregson Williams and Trevor Williams. Cinematography by Daniel Mendel. Editing by Chris Lebenzon.  Spy Game (2001), starring Brad Pitt, Robert Redford, Catharine McCormack, Stephen Dillane, Marianne Jean-Baptiste, David Hemmings, Benedict Wong, and Charlotte Rampling. Written by Michael Frost Beckner and David Arata. Music by Harry Gregson Williams. Cinematography by Daniel Mendel. Editing by Christian Wagner.  Man on Fire (2004), starring Denzel Washingston, Dakota Fanning, Christopher Walken, Radha Mitchell, Marc Anthony, Giancarlo Gianini, Mickey Rourke, Rachel Ticotin, and Jesus Ochoa. Written by Brian Hegeland. Music by Harry Gregson Williams. Editing by Christian Wagner. Cinematography by Paul Cameron. Domino (2005), starring Keira Knightley, Mickey Rourke, Edgar Ramirez, Delroy Lindo, Monique, Mena Suvari, Christopher Walken, Lew Temple, Macy Gray, Jacqueline Bissett, Dabney Coleman, Ian Zering, Brian Austin Green, T.K. Carter, and Lucy Liu. Written by Richard Kelly and Steve Barancik. Music by Harry Gregson Williams. Editing by Christian Wagner and William Goldenberg. Cinematography by Daniel Mendel.  Deja Vu (2006), starring Denzel Washington, Paula Patton, Val Kilmer, Jim Caviezel, Adam Goldberg, Erika Alexander, Elle Fanning, and Bruce Greenwood. Written by Terry Rossio and Bill Marsili. Music by Harry Gregson Williams. Cinematography by Paul Cameron. Editing by Chris Lebenzon and Jason Hellman.  Taking of Pelham 1 2 3 (2009), starring Denzel Washington, John Travolta, Luis Guzman, John Tutturo, and James Gandolfini. Written by Brian Hegeland. Music by Harry Gregson Williams. Editing by Chris Lebenzon. Cinematography by Tobias A. Schliessler.  Unstoppable (2010), starring Denzel Washington, Chris Pine, Rosario Dawson, Ethan Suplee, TJ Miller, Kevin Dunn. Lew Temple, Kevin Corrigan, and Kevin Chapman. Written by Mark Bomback. Music by Harry Gregson Williams. Editing by Chris Lebenzon and Robert Duffy. Cinematography by Ben Seresin.  The films of Ridley Scott The Duellists (1977), starring Keith Carradine, Harvey Keitel, Albert Finney, Cristina Raines, Edward Fox, Tom Conti, Stacey Keach and Diana Quick. Written by Gerald Vaughn Hughes, cinematography by Frank Tidy, edited by Pamela Power. Music by Howard Blake.  Alien (1979), starring Sigourney Weaver, Yaphet Kotto, Tom Skerritt, Veronica Cartwright, John Hurt, Harry Dean Stanton, and Ian Holm. Written by Walter Hill, David Giler, Dan O'Bannon & Ron Shussett. Cinematography by Vanlint. Design work by HR Giger, Moebius, Ron Cobb, Chris Foss, Carlo Rambaldi, Roger Christian, and Michael Seymour. Music by Jerry Goldsmith. Editing by Terry Rawlings and Peter Weatherly. Blade Runner (1982), starring Harrison Ford, Sean Young, Rutger Hauer, Edward James Olmos, M. Emmet Walsh, Daryl Hannah, William Sanderson, Brion James, Joe Turkel, Joanna Cassidy, and James Hong. Music by Vangelis. Cinematography by Jordan Cronenweth. Editing by Terry Rawlings and Marsha Nakashima. Design work by Syd Mead and David Synder. Screenplay by Hampton Fancher and David Peoples.  Legend (1985), starring Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten, Billy Barty, and Annabelle Lanyon. Written by William Hjortsburg. Produced by Arnon Milchan. Music by (depending on which cut) Jerry Goldsmith and Tangerine Dream. Cinematography by Alex Thomson. Editing by Terry Rawlings. Design work by Assheton Gordon, Les Dilley, Norman Dorme, Ann Mollo, and Charles Knode. Special Makeup Effects by Rob Bottin.  Someone To Watch Over Me (1987), starring Tom Berenger, Mimi Rogers, Lorraine Bracco, Jerry Orbach, and John Rubenstein. Written by Howard Franklin. Music by Michael Kamen. Edited by Claire Simpson. Produced by Ridley Scott, Thierry De Ganay, and Harold Schneider.  Black Rain (1989), starring Michael Douglas, Andy Garcia, Ken Takakura, Kate Capshaw, Yusaku Matsuda, Shigero Koyama, Stephen Root, Jun Kumimura, Al Leong, and Luis Guzman. Written by Craig Bolotin and Warren Lewis. Produced by Craig Bolotin, Stanley R. Jaffe, Julie Kirkham, and Sherry Lansing. Edited by Tom Rolf. Music by Hans Zimmer. Cinematography by Jan De Bont. Production design by Norris Spencer.   Thelma & Louise (1991), starring Susan Sarandon, Geena Davis, Harvey Keitel, Christopher McDonald, Brad Pitt, Stephen Tobolowsky, Michael Madsen, and Jason Beghe. Written by Callie Khouri. Produced by Ridley Scott and Mimi Polk Gitlin. Music by Hans Zimmer. Editing by Thom Noble. Cinematography by Adrian Biddle. Production Design by Norris Spencer.  1492: The Conquest of Paradise (1992), starring Gerard Depardiu, Armand Assante, Ridley Scot, Fernando Rey, Frank Langella, Tcheky Kayro, Angela Molina, and Arnold Vosloo. Written by Rose Bosch. Cinematography by Adrian Biddle. Music by Vangelis. Production design by Norris Spencer.  White Squall (1996), starring Jeff Bridges, Caroline Goodall, Scott Wolf, Ryan Phillipe, Jeremy Sisto, Balthazar Getty, Zeljko Ivanek, and Ethan Embry. Written by Todd Robinson. Cinematography by Hugh Johnson. Music by Jeff Rona. Editing by Gerry Hambling.  G.I. Jane (1997), starring Demi Moore, Viggo Mortensen, Jim Caviezel, Anne Bancroft, Jason Beghe, John Michael Higgins, and Morris Chestnut. Written by Danielle Alexandra andDavid Twohy. Cinematography by Hugh Johnson. Edited by Pietro Scalia. Music by Trevor Jones. Production design by Arthur Max.  Gladiator (2000), starring Russell Crowe, Joaquin Phoenix, Connie Neilsen, Oliver Reed, Richard Harris, Djimon Honsou, David Hemmings, Tommy Flanagan, and Sven Ole Thorson. Written by David Franzioni, John Logan, and William Nicholson. Music by Hans Zimmer and Lisa Gerard. Cinematography by John Mathieson. Editing by Pietro Scalia. Production design by Arthur Max.  Hannibal (2001), starring Anthony Hopkins, Julienne Moore, Gary Oldman, Ray Liotta, Zeljko Ivanek, Frankie Faison, Giancarlo Giannini, and Francesca Niri. Written by David Mamet and Steve Zaillian. Music by Hans Zimmer. Cinematography by John Mathieson. Editing by Pietro Scalia. Production design by Norris Spencer.  Black Hawk Down (2001), starring Eric Bana, Josh Hartnett, Ewan McGregor, Tom Sizemore, Orlando Bloom, Sam Shepard, William Fichtner, Ewan Bremmer, Kim Coates, Hugh Dancey, Ron Eldard, Ioan Grufford, Zeljko Ivanek, Jeremy Piven, and Tom Hardy. Written by Mark Bowden and Ken Nolan. Music by Hans Zimmer. Cinematography by Slawomir Idziak. Editing by Pietro Scalia. Production Design by Arthur Max.  Matchstick Men (2003), starring Nicholas Cage, Sam Rockwell, Alison Lohman, Bruce McGill, Bruce Altman, and Melora Waters. Written by Nicholas and Ted Griffin. Music by Hans Zimmer. Cinematography by John Mathieson. Editing by Dody Dorn. Production design by Tom Foden.  Kingdom of Heaven (2005), starring Orlando Bloom, Michael Sheen, David Thewlis, Liam Neeson, Eva Green, Edward Norton, Kevin McKidd, Martin Csokas, Brendan Gleeson, Jeremy Irons, and Ghasan Massoud. Written by William Monahan. Music by Harry Gregson Williams. Cinematography by John Mathieson. Editing by Dody Dorn. Production design by Arthur Max.  A Good Year (2006), starring Russell Crowe, Marion Cottilard, Albert Finney, Freddie Highmore, Rafe Spall, Archie Panjabi, and Richard Coyle. Written by Marc Klein. Music by Martin Streitenfeld. Cinematography by Phillipe Le Sourd. Editing by Dody Dorn and Robb Sullivan. Production design by Sonja Klaus.  American Gangster (2007), starring Denzel Washington, Russell Crowe, Cuba Gooding Jr., Chewitel Ejifor, Idris Elba, Josh Brolin, John Hawks, Lymari Nadal, Ted Levine, Rza, Yul Vazquez, Ruby Dee, Carla Gugino, John Ortiz, Joe Morton, T.I., Armand Assante, John Polito, Kevin Corrigan, Norman Reedus, and Anthony Hamilton. Written by Steve Zaillian. Cinematography by Harris Savides. Music by Martin Streitenfeld. Editing by Pietro Scalia. Production design by Arthur Max.  Body of Lies (2008), starring Leonardo Dicaprio, Russell Crowe, Mark Strong, Golshifteh Farahani, Oscar Isaac, Ali Suliman, and Simon McBurney. Written by William Monahan. Cinematography by Alexander Witt. Music by Martin Streitenfeld. Editing by Pietro Scalia. Production design by Arthur Max.  Robin Hood (2010), starring Russell Crowe, Cate Blanchett, Max Von Sydow, William Hurt, Mark Strong, Oscar Isaac, Danny Huston, Eiileen Atkins, Mark Addy, Scott Grimes, and Lea Seydoux. Written by Brian Hegeland. Music by Martin Streitenfeld. Editing by Pietro Scalia. Production design by Arthur Max. Cinematography by John Mathieson. Prometheus (2012), starring Noomi Rapace, Charlize Theron, Michael Fassbender, Idris Elba, Guy Pearce, Rafe Spall, Logan Marshall-Green, Sean Harris, and Benedict Wong. Written by John Spaihts and Damon Lindelof. Music by Martin Streitenfeld. Editing by Pietro Scalia. Production design by Arthur Max. Cinematography by Dariusz Wolski.  The Counselor (2013), starring Michael Fassbender, Brad Pitt, Penelope Cruz, Cameron Diaz, Javier Bardem, Bruno Ganz, Rosie Perez, Dean Norris, John Leguizamo, Rueben Blades, Edgar Ramirez, Goran Visnjic, and Sam Spruell. Written by Cormac McCarthy. Music by Daniel Pemberton. Editing by Pietro Scalia. Production design by Arthur Max. Cinematography by Dariusz Wolski.  Exodus: Gods and Kings (2014), starring Christian Bale, Joel Edgerton, Sigourney Weaver, John Tutturo, Aaron Paul, Ben Mendelsohn, Maria Valverde, and Ben Kingsly. Music by Alberto Iglesias. Editing by Billy Rich. Production design by Arthur Max. Cinematography by Dariusz Wolski. Written by Adam Cooper, Bill Collage, Steve Zaillian, and Jeffrey Caine.  The Martian (2015), starring Matt Damon, Jessica Chastain, Kristen Wiig, Jeff Daniels, Michael Pena, Sean Bean, Kate Mara, Sebastian Stan, Aksel Hennie, Chewitel Ejifor, and Benedict Wong. Written by Drew Goddard. Music by Harry Gregson-Williams. Editing by Pietro Scalia. Production design by Arthur Max. Cinematography by Dariusz Wolski.  ALSO DISCUSSED IN THIS SECTION Christopher McQuarrie, Dances With Wolves, Waterworld, Valkyrie, Jack Reacher, Risky Business, Three Days to Kill, Lethal Weapon, The Long Kiss Goodnight, Sonny Chiba, Kevin Pollack, Jay Mohr, Action, Steve Engleheart, The Property Brothers, Sniper, Gone Girl, Claire Denis, Michael Mann, Kathryn Bigelow, Richard Kelly, Donnie Darko, Quentin Tarantino, The Manchurian Candidate, Roger Avery, Brian De Palma, Obsession, Rob Zombie, Joe Carnahan, Edgar Wright, Mad Max Fury Road, Pirates of the Caribbean, Charlize Theron, Meryl Streep, Laurence Harvey, Guy Maddin, Cowards Bend the Knee, Smokin Aces, Garfield Without Garfield, Richard Kelly and Quentin Tarantino in conversation talking about writing for Tony Scott, Agent Orange, Beat the Devil, Cahiers Du Cinema, Point of No Return, Bridget Fonda, Single White Female, Olivier Assayas, George Miller, Michael Bay, Terrence Malick, Michael Cimino, Beverly Hills Cop 3, The Killing, I'm Gonna Get You Sucka, New Jack City, John Landis, 2001: A Space Odyssey, The Getaway, Cary Grant, Boomerang, the Red Ghost, '71, Trainspotting, Drive Angry, Strange Days, Heat, Zulu, Shigeru Mizuki, The Hurt Locker, Roger Corman, Battleship, Man on Fire (1987), A Knights Tale, Payback, The Runaways, Takashi Ito, John Wick, Nightwatch, A.O. Scott, Dune, Safe House, Bastards, John Q, Liam Neeson, Inside Man, Eastern Promises, Akira Kurosawa & Toshiro Mifune, Paul Thomas Anderson, Johnny Carson, Unforgiven, French Connection, Conan, The Royal Tenenbaums, "Simpson Tide", Farewell My Lovely, Battleship Potemkin, Akira, Neuromancer, The Incal, The Airtight Garage, Enki Bilal, Barry Lyndon, The Texas Chainsaw Massacre, Godfather, Zoot Suit, Orson Welles, Interstellar, Person Of Interest, CSI,  Robert Rauschenberg, Nicholas Roeg, John Hyams, Z Nation, Gamer, John Carpenter, Undisputed 3, Undisputed 2, US Seals, Return to Savage Beach, Warrior, Vertigo, Henry James, Out of the Furnace, The Hunger Games, Temple of the Dog, Pearl Jam, The Long Goodbye, A Clockwork Orange, Reservoir Dogs, Pump Up The Volume, Osterman Weekend, Ricochet, Terminator, Jack Reacher, Bill Paxton, Predator, Aliens, The Conversation,  Chris Ryan & Sean Fennessey on Ridley Scott, True Detective Season 2, Craig Bierko, Friday Night Lights, Explosions in the Sky, The Punisher, Sicario, and A.A. Ron.   MUSIC Jamie Lee Curtis' prison introduction from Escape From New York (our intro, as always) Cliff Martinez - "Placental Repair" from The Knick Iggy Pop - "Funtime" from The Hunger Prince - "Gett Off" from The Last Boy Scout. Hans Zimmer - "Chant" from Black Hawk Down. Nine Inch Nails - "The Mark Has Been Made" from Man On Fire. Harry Gregson Williams - "The End" from Man On Fire. Harry Gregson Williams - "Red Shirt" from Spy Game. Harry Gregson Williams - "Frank Barnes" from Unstoppable. Marianne Faithful - "Ballad of Lucy Jordan" from Thelma & Louise. Next Week: Crimson Peak and Steve Jobs.