Podcast appearances and mentions of Scott Mosier

Send us a textKathy, Mark and Burk react to the teaser for Baahubali: The Eternal War – Part 1 , an upcoming Indian Telugu-language 3D animated epic mythological film produced by Shobu Yarlagadda and Prasad Devineni under Arka Media Works and directed by Ishan Shukla from a screenplay by Scott Mosier. The music is composed by M. M. Keeravani. The film expands the universe of the Baahubali saga and is presented by its creator S. S. Rajamouli.Support the show

A year ago, Scott Morse found himself adrift, severed from a stable income and a defined creative path. Panic was an option. So was fear. Instead, he chose collaboration and creation. This Ink Runs Cold: Short Stories from the Space-Crime Continuum smashes two of his favorite genres between its pages. It's an anthology of one-page pulp stories written by 89 different writers, all drawn by Scott Morse and colored by José Villarrubia. Many of these writers are seasoned comic veterans, animators, and filmmakers. The table of contents includes Mike Allred, Brian Michael Bendis, Jorge Gutierrez, Derek Kirk Kim, Dave McKean, Fábio Moon, Scott Mosier, Eric Powell, Stan Sakai, and on and on and on. Even better, for our purposes anyway, This Ink Runs Cold includes numerous comic book newcomers, including us - Brad and Lisa Gullickson! As of this writing, This Ink Runs Cold has one week left on Kickstarter. Scott Morse and Allen Spiegel Fine Arts offer two editions: the Full-Color version featuring José Villarrubia's wizardry and the limited Black and White Noir version, showcasing Scott Morse's beautiful brushwork. Having knocked out some stretch goals, those backing the Bookplate and Noir/1-2 Punch tiers will get an extra book, The Brush-Offs. This is a 24-page bonus book featuring unused art, abandoned pages, scripts, an alternate prologue/epilogue, and an analysis of this unique writer/artist collaboration. We're beyond honored to contribute one page to This Ink Runs Cold; we're practically in disbelief. Today's podcast is the first time we have featured a story we helped create, and it's an incredibly emotional experience. We're grateful to Scott Morse for coming on the show, explaining how This Ink Runs Cold grew from a mini-devastation, and why this intense injection of collaboration reinvigorated him. We also had the opportunity to explain what our short story "The ADHD P.I." means to us and how it helped us process some anxiety and self-loathing. Working with one page was ridiculously challenging, and what's most exciting is seeing how 88 other writers tackled that challenge and used that finite space in infinite ways. We also start this week's episode with our recent trip to WonderCon and an LAX nightmare we will never forget. If you're here only for the Scott Morse chatter, we won't begrudge you for skipping ahead, but you'll miss out on another outlandish story. This Week's Sponsors: You wake in a hospital bed. Your hand feels heavy, there's a ringing pain in your head. Machine parts have replaced what could not be repaired with flesh. Did the doctors save you, or strip you of your humanity? This is the question facing Adam in Futility Shapes, a one-shot comic live on Kickstarter now! Created by Edward Kane and Dave Fowler. Futility Shapes is a weird blend of The Terminator, The Machinist, and Mass Effect. What shapes you? Visit EdwardKane.net (spell out the name for ease) We're also sponsored by the sponsored by 2000 AD, the greatest comic you're not reading! Within its pages is a whole universe of characters, from Judge Dredd and Strontium Dog to Rogue Trooper, Shakara, Halo Jones, and the poor sods slogging across the Cursed Earth in The Helltrekkers. Get a print subscription at your door every week - and the first issue is free! Or subscribe digitally, get free back issues, and download DRM-free copies of each issue for just $9 a month. That's 128 pages of incredible monthly comics for less than $10. Plus, the Beyond the Cape Podcast. If you enjoy Comic Book Couples Counseling, you'd undoubtedly enjoy their show. Beyond the Cape is a laid-back talk show in which every episode highlights their love of this beautiful comic book medium, their personal journey with it, and the respective artists they feature on each podcast. This June will mark their second anniversary, which we certainly recognize as a massive accomplishment. So, follow them on Instagram @BeyondTheCapePodcast and Spotify with The Uncensored Nerds Network. Other Relevant Links: Patreon Exclusive: Read The ADHD PI Script Patreon Exclusive: Saga of the Swamp Thing Book Club Support Your Local Comic Shop Free Patreon Series Final Round of Plugs (PHEW): Support the Podcast by Joining OUR PATREON COMMUNITY. The Comic Book Couples Counseling TeePublic Merch Page. Join us at the Alamo Drafthouse in Winchester, Virginia, on 4/13 at 5:00 PM for Robert Altman's Popeye, co-sponsored by Four Color Fantasies. And, of course, follow Comic Book Couples Counseling on Facebook, on Instagram, and on Bluesky @CBCCPodcast, and you can follow hosts Brad Gullickson @MouthDork & Lisa Gullickson @sidewalksiren. Send us your Words of Affirmation by leaving us a 5-star Review on Apple Podcasts. Continue your conversation with CBCC by hopping over to our website, where we have reviews, essays, and numerous interviews with comic book creators. Podcast logo by Jesse Lonergan and Hassan Otsmane-Elhaou.

Executive producers Kevin Smith & Scott Mosier, actors Jason Lee, Jason Mewes, Renee Humphrey and Carmen Llwellyn

Spidey has to protect Jameson and Mary Jane from a very Kamen Rider-esque Beetle and his assault on the Daily Bugle! We talk about the limitations of casting J.K. Simmons, the challenges of utilizing the S.H.I.E.L.D. team, Mary Jane working as a journalist, and how some of the show's best humor comes, shockingly, from Scott Mosier of Kevin Smith's View Askewniverse. We're watching Ultimate Spider-Man: Season 1, Episode 16: “Beetle Mania”. Website⁠ | ⁠Patreon⁠ | ⁠Discord⁠ Part of The Glitterjaw Queer Podcast Collective Contact us: @WallopingWebPod on ⁠Twitter⁠, ⁠Facebook⁠, and ⁠Instagram⁠ Email: ⁠wallopingwebsnapperspodcast@gmail.com⁠ Theme song features: ⁠“Resonance (Cyan & Ladybot Remix)” by HOME⁠ | ⁠License (CC BY 3.0)⁠

Mark and Jonny Numb discuss the 1997 independent film A Better Place. Produced by Kevin Smith and Scott Mosier, and directed by Vincent Pereira, the movie focuses on the ill-fated friendship between two high school outcasts. In this episode they also talk about 1990's independent cinema, View Askew productions, and literate maniacs. Enjoy!

We are so excited to have writer/director/producer/editor Scott Mosier join us on this episode of One Moore Hollywood Podcast! From his experience working with Kevin Smith on their first film, Clerks, to his thoughts on how breaking into the industry has changed through the years - Scott gives insight into his impressive career and how he has been able to parlay his scrappy experience into a long Hollywood career.We want to hear from you! Reach out to us on social: @OMHPod and don't forget to subscribe to the podcast channel to be notified of new episodes, dropping every Thursday!

Executive producer Kevin Smith, producers Scott Mosier and Dave Mandel, supervising director Chris Bailey, and actors Brian O'Halloran, Jeff Anderson, and Jason Mewes

Executive producer Kevin Smith, producers Scott Mosier and Dave Mandel, supervising director Chris Bailey, and actors Brian O'Halloran, Jeff Anderson, and Jason Mewes

Executive producer Kevin Smith, producers Scott Mosier and Dave Mandel, supervising director Chris Bailey, and actors Brian O'Halloran, Jeff Anderson, and Jason Mewes

Executive producer Kevin Smith, producers Scott Mosier and Dave Mandel, supervising director Chris Bailey, and actors Brian O'Halloran, Jeff Anderson, and Jason Mewes

Executive producer Kevin Smith, producers Scott Mosier and Dave Mandel, supervising director Chris Bailey, and actors Brian O'Halloran, Jeff Anderson, and Jason Mewes

Executive producer Kevin Smith, producers Scott Mosier and Dave Mandel, supervising director Chris Bailey, and actors Brian O'Halloran, Jeff Anderson, and Jason Mewes

Join us for a great conversation with Brian and Jeff from Kevin Smith's Iconic Clerks franchise!  They share all the insider secrets you could want to hear!

Hockey playing continues and we get two doses of Scott Mosier. Special Guest: Mark Palkowski

As Dante gets the newspapers set up, the guys look at the headlines on the Daily News and discuss the career of Scott Mosier.

Jay talks about blow jobs and wait is that Scott Mosier? Special Guest: Scotty Fellows

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Four our twenty-second episode, we're continuing with the oeuvre of Kevin Smith by chronicling Smith's finest cinematic hour, 1999's “Dogma”, as told by Smith himself, producer Scott Mosier, and actors Ben Affleck, Jason Lee, and Jason Mewes. Prepare for tales of supposedly abrasive leading ladies, the television-watching habits of all the commentators, whether getting lucky puts a director on their A-game, and how to be innocently irreverent in the face of death threats.Ryan's Recommendations: “Sherlock Jr.” (1924), “The Cameraman” (1928), “Speedy” (1928), “Modern Times” (1936), and “The Wrong Trousers” (1993)For exclusive bonus content and early releases of every episode, join our Patreon and become an Official Minder: http://www.patreon.com/onetrackmindpodcastTheme Music by: Bildschirm (bildschirm.bandcamp.com). Artwork by: Lacie Barker. Support the show

For our twenty-first episode, we're gonna party like it's 1995. It's about time we talk about a cult classic (obviously doesn't happen a lot), so why not Kevin Smith's follow-up to “Clerks”: “Mallrats”? That's right, True Believers, we discuss ill-fated attempts to turn assault into comedy, trying to get ahead of “There's Something About Mary”, the studio-mandated discouragement of potty mouth, and movies you should never watch with your mom, as told by Smith, producer Scott Mosier, and stars Jason Lee, Ben Affleck, and Jason Mewes.Ryan's Recommendations: “Metropolitan” (1990), “Barcelona” (1994), and “The Last Days of Disco” (1998)For exclusive bonus content and early releases of every episode, join our Patreon and become an Official Minder: http://www.patreon.com/onetrackmindpodcastTheme Music by: Bildschirm (bildschirm.bandcamp.com). Artwork by: Lacie Barker. Support the show

Recorded in 1995 for the Director's Edition Laserdisc release of the film. Watch the film on Paramount Plus here.

On this episode of THE CLASSIC METAL SHOW, Neeley and Chris talk about the final installment of the CLERKS franchise, CLERKS III. Following, they talk about the new movie TOP GUN: MAVERICK as well as Dwayne Johnson's latest movie BLACK ADAM. All our links are available at https://www.linktr.ee/cmsrocks.Live Saturdays from 9pm to 3am Eastern at www.theclassicmetalshow.com or on Rumble, Odysee or YouTube.BECOME A VIP: https://bit.ly/cms-vipGET A FREE RUMBLE ACCOUNT: https://rumble.com/register/classicmetalshow/GET A FREE ODYSEE ACCOUNT: https://odysee.com/$/invite/@ClassicMetalShow:a**NOTE: Everything said here, and on every episode of all of our shows are 100% the opinions of the hosts. Nothing is stated as fact. Do your own research to see if their opinions are true or not.**Please take a moment to subscribe, share and leave us a 5 Star Review for this episode! It helps us grow and do better episodes for YOU!!ROKU: Search "The Classic Metal Show" in the Roku ChannelsAMAZON: Search "The CMS Network" To Add Our Channel

You guys are in for a major treat. I'm always talking about those "lottery ticket" filmmaker stories that we all dream of happening to us one day. Well, today's guest's story is one of the mythological stories come to life.We have 90's independent film icon, Scott Mosier. Scott is an indie film producer, editor, writer, director, actor, and podcaster of Smodcast, which he co-hosts with his long-term filmmaking partner, Kevin Smith.From Vancouver Film School to Hollywood, Scott's trajectory has been inspiring for many in the industry. He produced some of the best 90s classics like Clerks 1 & 2, Jersey Girl, the Oscar® Winning Good Will Hunting, Dogma, and many, many more.Scott acted in, edited the movie, original sound, and contributed to Clerk's budget. After the massive hit they followed up with the embattled Mallrats. The film was not well received and did no money at the box-office. Kevin and Scott were essentially discarded and called a one hit wonders. For most filmmakers that would be all she wrote but not for Kevin and Scott.They decided to go back to their roots and make another low budget indie and prove to Hollywood that they were here to stay. Their next film was the brilliant romantic comedy-drama, Chasing Amy. The tells the unfortunate twist of a male comic artist who falls in love with a lesbian woman, to the displeasure of his best friend.After self-financing, the majority of their initial projects (Mosier & Smith), 2001, Jay and Silent Bob Strike Back was Mosier's first big-budget ($20 million) production.Based on real-life stoners Jay and Silent Bob, so when they get no profit from a big-screen adaptation they set out to wreck the movie.If that wasn't enough Scott also co-executive produced the Oscar® Award-Winning Good Will Hunting in his spare time.Wanting a change Scott decided to branch out and start directing himself. His 2018 directorial debut was a stand-out project! A box office hit, grossing about $512 million globally and the highest-grossing holiday film of all time. Dr. Seuss: The Grinch became the third screen adaptation of the 1957 Dr. Seuss book, How the Grinch Stole Christmas.I had ball talking shop with Scott. We discussed the genesis of the independent film movement as we know it today, dealing with studios, what was it like being in the Clerks hurricane and much more.Enjoy my conversation with Scott Mosier.

Scott Mosier sits down with the Matts to discuss and dissect Thunderball! Hosted on Acast. See acast.com/privacy for more information.

Ronnie Adams and Mark Radulich present their Kevin Smiths Clerks Trilogy Review. Clerks is a 1994 American black-and-white buddy comedy film written and directed by Kevin Smith (in his feature directorial debut), produced and edited by Smith and Scott Mosier, and starring Brian O'Halloran, Jeff Anderson, Marilyn Ghigliotti, Lisa Spoonhauer, Jason Mewes, Smith, and Mosier. It presents a day in the lives of store clerks Dante Hicks (O'Halloran) and Randal Graves (Anderson) as well as their acquaintances. It is the first of Smith's View Askewniverse films, and introduces several recurring characters, notably Jay and Silent Bob (Mewes and Smith respectively). It is often regarded as a cult classic and a landmark in independent filmmaking. In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The live-action, feature film sequel to Clerks was released on July 21, 2006. The working title was The Passion of the Clerks, though the film was released under the title Clerks II. The credits for Dogma stated "Jay and Silent Bob will return in Clerks 2: Hardly Clerkin' "; however, that project "evolved" into Jay and Silent Bob Strike Back. The sequel features Jeff Anderson and Brian O'Halloran reprising their roles as Dante Hicks and Randal Graves. The two now work at a Mooby's restaurant after the latter's incompetence resulted in the destruction of the Quick Stop and RST Video. Clerks III is a 2022 American comedy film written, produced, directed, and edited by Kevin Smith and stars Brian O'Halloran, Jeff Anderson, Trevor Fehrman, Austin Zajur, Jason Mewes, Rosario Dawson, and Smith. It serves as a standalone sequel to the 1994 and 2006 Clerks films, and is the ninth overall feature film set in the View Askewniverse. In the film, Randal Graves, who after surviving a massive heart attack, enlists his friends and fellow clerks Dante Hicks, Elias Grover, and Jay and Silent Bob to make a movie about their lives at the Quick Stop Convenience store that started it all. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Ronnie Adams and Mark Radulich present their Kevin Smiths Clerks Trilogy Review. Clerks is a 1994 American black-and-white buddy comedy film written and directed by Kevin Smith (in his feature directorial debut), produced and edited by Smith and Scott Mosier, and starring Brian O'Halloran, Jeff Anderson, Marilyn Ghigliotti, Lisa Spoonhauer, Jason Mewes, Smith, and Mosier. It presents a day in the lives of store clerks Dante Hicks (O'Halloran) and Randal Graves (Anderson) as well as their acquaintances. It is the first of Smith's View Askewniverse films, and introduces several recurring characters, notably Jay and Silent Bob (Mewes and Smith respectively). It is often regarded as a cult classic and a landmark in independent filmmaking. In 2019, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The live-action, feature film sequel to Clerks was released on July 21, 2006. The working title was The Passion of the Clerks, though the film was released under the title Clerks II. The credits for Dogma stated "Jay and Silent Bob will return in Clerks 2: Hardly Clerkin' "; however, that project "evolved" into Jay and Silent Bob Strike Back. The sequel features Jeff Anderson and Brian O'Halloran reprising their roles as Dante Hicks and Randal Graves. The two now work at a Mooby's restaurant after the latter's incompetence resulted in the destruction of the Quick Stop and RST Video. Clerks III is a 2022 American comedy film written, produced, directed, and edited by Kevin Smith and stars Brian O'Halloran, Jeff Anderson, Trevor Fehrman, Austin Zajur, Jason Mewes, Rosario Dawson, and Smith. It serves as a standalone sequel to the 1994 and 2006 Clerks films, and is the ninth overall feature film set in the View Askewniverse. In the film, Randal Graves, who after surviving a massive heart attack, enlists his friends and fellow clerks Dante Hicks, Elias Grover, and Jay and Silent Bob to make a movie about their lives at the Quick Stop Convenience store that started it all. Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network. Mark Radulich and his wacky podcast on all the things: https://linktr.ee/markkind76 also snapchat: markkind76 FB Messenger: Mark Radulich LCSW Tiktok: @markradulich twitter: @MarkRadulich

Ben & Rob cap off the View Askewniverse series with Kevin Smith's final 'Clerks' movie. The conclusion of a cinematic franchise that started nearly 30 years ago, and the of our own multi-episode series (Ep78-88), will Brian O'Halloran and Jeff Anderson's Dante and Randall finally escape the grind, and will Ben & Rob's friendship survive this movie?Kevin Smith's View Askewniverse has been a huge part of both these co-hosts cinematic lives, and covering these films has been an absolute treat starring Jason Mewes, Jeff Anderson, Brian O'Halloran Jason Lee, Ben Affleck, Scott Mosier, Rosario Dawson, Trevor Fehrman and of course, Kevin Smith himself along with countless others. Thank you for joining us for this series, and as ever, CONSUUUME!Find us on your socials of choice at www.linktr.ee/everymovieeverpodcast

They've worked hard enough. Don't they deserve their own movie? To coincide with the release of Clerks III, Dan and Tyler are journeying back to the halcyon days of 1994 to look at where it all began for Kevin Smith in Clerks.  They talk about Kevin Smith's directing style, how the movie has aged, and how impactful it was for a certain generation of kids.  Along the way, they talk about their first jobs in the service industry, becoming complacent in life, and the importance of setting boundaries. For more from us, check us out at: Twitter:Everything We Learned - @EwlpodTyler - @MisterSiyeDan - @aDapperDanMan Letterboxd:Dan - @aDapperDanMan Twitch:https://www.twitch.tv/mrsiyeSee omnystudio.com/listener for privacy information.

Starring - Brian O'Halloran, Jeff Anderson, Marilyn Ghigliotti, Lisa Spoonauer, Jason Mewes, Kevin Smith; Directed By - Kevin Smith; Written By - Kevin Smith;  Music - Benjie Gordon;  Cinematography - David Klein; Editor -  Scott Mosier, Kevin SmithWebsite: https://amoviepodcast.com/Twitter: @ItsaFilmPodcastInstagram: @toomanycaptainsproductions

You guys are in for a major treat. I'm always talking about those "lottery ticket" filmmaker stories that we all dream of happening to us one day. Well, today's guest's story is one of the mythological stories come to life.We have 90's independent film icon, Scott Mosier. Scott is an indie film producer, editor, writer, director, actor, and podcaster of Smodcast, which he co-hosts with his long-term filmmaking partner, Kevin Smith.From Vancouver Film School to Hollywood, Scott's trajectory has been inspiring for many in the industry. He produced some of the best 90s classics like Clerks 1 & 2, Jersey Girl, the Oscar® Winning Good Will Hunting, Dogma, and many, many more.Scott acted in, edited the movie, original sound, and contributed to Clerk's budget. After the massive hit they followed up with the embattled Mallrats. The film was not well received and did no money at the box-office. Kevin and Scott were essentially discarded and called a one hit wonders. For most filmmakers that would be all she wrote but not for Kevin and Scott.They decided to go back to their roots and make another low budget indie and prove to Hollywood that they were here to stay. Their next film was the brilliant romantic comedy-drama, Chasing Amy. The tells the unfortunate twist of a male comic artist who falls in love with a lesbian woman, to the displeasure of his best friend.After self-financing, the majority of their initial projects (Mosier & Smith), 2001, Jay and Silent Bob Strike Back was Mosier's first big-budget ($20 million) production.Based on real-life stoners Jay and Silent Bob, so when they get no profit from a big-screen adaptation they set out to wreck the movie.If that wasn't enough Scott also co-executive produced the Oscar® Award-Winning Good Will Hunting in his spare time.Wanting a change Scott decided to branch out and start directing himself. His 2018 directorial debut was a stand-out project! A box office hit, grossing about $512 million globally and the highest-grossing holiday film of all time. Dr. Seuss: The Grinch became the third screen adaptation of the 1957 Dr. Seuss book, How the Grinch Stole Christmas.I had ball talking shop with Scott. We discussed the genesis of the independent film movement as we know it today, dealing with studios, what was it like being in the Clerks hurricane and much more.Enjoy my conversation with Scott Mosier.

Clerks 3: The Clerks 3 trailer has dropped! Jim and Them's torrid on again, but mostly off again relationship with Kevin Smith continues!Portland Road Rage: A viral Portland traffic argument turns into Twitter as a man screams at a white lady's "colonizer mindset" and they eat their own.Activist Fails: Are environmental activists pissing the people off that they claim to protect? Is it for the greater good or are they quote "SELFISH CUNTS"?CARMEN!, KILLED YOURSELF!, THE BEAR!, NOFX!, STICKING IN MY EYE!, PRIDE MONTH!, JAMES CAAN!, TONY SIRICO!, PAULIE WALNUTS!, THAT'S AMORE!, ITALIAN PRIDE!, BID FAREWELL!, LEGEND!, RIP!, REST IN PEACE!, TOP GUN!, JURASSIC WORLD DOMINION!, DEAN MARTIN!, SHOUT OUT!, DEATH OF THE DINER!, DINER WATCH 2022!, POTATO SALAD!, SEND YOUR PICTURES!, CLERKS 3!, TRAILER!, KEVIN SMITH!, K. SMITH!, KILROY WAS HERE!, JAY AND SILENT BOB REBOOT!, MASTERS OF THE UNIVERSE!, DANTE!, RANDAL!, META!, CRINGE!, HOLLYWEED!, OPTIMISTIC!, SNOWBALL!, PREDICTIONS!, FLAT EARTHER!, RADICALIZED!, ANTIFA!, SHE/THEY!, RHYTHMN!, BILL AND TED!, KEANU!, LIT!, MY OWN WORST ENEMY!, MALLRATS!, DOGMA!, CHASING AMY!, SMODCAST!, SCOTT MOSIER!, THE LAST JEDI!, TOOTHLESS!, PORTLAND!, WHITE COLONIZER!, TRAFFIC ARGUMENT!, GO BACK TO WHERE YOU CAME FROM!, NATIVE AMERICAN!, VIRAL!, ROAD RAGE!, LIBTARDS!, RACIST!, OPRESSOR!, ADMIT YOUR WHITE!, NOT ABOUT RACE!, HOPE YOU HAVE A CONVERSATION!, GOALPOSTS!, VEHICLE REVIEW!, ENVIRONMENTAL ACTIVIST!, BLOCKING TRAFFIC!, PAROLE!, JAIL!, AUSTRALIA!, SYDNEY!, PERFECT FRAMING!, CLIMATE CHANGE!, DISRUPT!, SELFISH CUNT!, SCREAMING!, MANIAC!, SIMPSONS CHARACTER!, ANGRY MAN!, BIKE LOCK PROTESTOR!, MODELING CAREER!, HUGH MONGUS!, BLOCKADE AUSTRALIA!, MALI COOPER!, SYDNEY HARBOUR!, SCARED!, BROOKLYN SUMMER!, FUN!, HANG OUT!, SURPRISE ENDING!, BRAWL!, BEATDOWN!, RUSH!, 2112!

In 2013, Kevin Smith and Scott Mosier found a Gumtree ad that offered free room and board if the tenant dressed as a walrus, they discussed this on their SModcast and the result was the 2014 horror-comedy Tusk. Starring Justin Long, Michael Parks, and co-starring Johnny Depp, Haley Joel Osment, and Genesis Rodriguez: Tusk may be one of the more infamous horror films of the last 10 years. It begs people to wonder: is man, indeed, a walrus at heart? Written and directed by indie darling Kevin Smith, these A24 nerds have the answer to all things walrus plus much more in their film review of Tusk. Caution: movie spoilers.

Writer/director Kevin Smith, producer Scott Mosier and actor Jason Mewes

Writer/director Kevin Smith, producer Scott Mosier and actor Jeff Anderson (from the Kevin Smith Podcast)

Writer/director Kevin Smith, producer Scott Mosier, and cinematographer Dave Klein

Writer/director Kevin Smith, producer Scott Mosier, and actors Jason Mewes, Trevor Fuhrmann, Brian O'Halloran, Jeff Anderson and Jennifer Schwalbach

Writer/director Kevin Smith, actors Jason lee, Jason Mewes, and Ben Affleck, producer Scott Mosier & View Askew historian Vincent Perrera

Writer/director Kevin Smith, producer Scott Mosier, and actors Ben Affleck, Jason Lee, Jason Mewes and Vincent Perrera

On the 259th episode of SModcast, indie legend turned Hollywood darling turned cinematic outlaw Kevin Smith and longtime collaborator Scott Mosier read a bizarre want ad in which a homeowner was offering free lodging, so long as the tenant was willing to wear a Walrus costume. This led to an in-depth discussion about a hypothetical horror film inspired in equal parts by Stuart Gordon, David Cronenberg, and THE HUMAN CENTIPEDE. By the time of its premiere at the 2014 Toronto International Film Festival, TUSK was no longer a hypothetical. The film has gone on to become Smith's most controversial to date, but here at Make Your Own Damn Podcast, we give it the reexamination we believe it deserves.

Road House fans/filmmakers Kevin Smith and Scott Mosier

You guys are in for a major treat. I'm always talking about those "lottery ticket" filmmaker stories that we all dream of happening to us one day. Well, today's guest's story is one of the mythological stories that come to life.We have a 90's independent film icon, Scott Mosier. Scott is an indie film producer, editor, writer, director, actor, and podcaster of Smodcast, which he co-hosts with his long-term filmmaking partner, Kevin Smith.From Vancouver Film School to Hollywood, Scott's trajectory has been inspiring for many in the industry. He produced some of the best 90s classics like Clerks 1 & 2, Jersey Girl, the Oscar® Winning Good Will Hunting, Dogma, and many, many more.Scott acted in, edited the movie, original sound, and contributed to Clerk's budget. After the massive hit, they followed up with the embattled Mallrats. The film was not well received and did no money at the box office. Kevin and Scott were essentially discarded and called a one-hit-wonder. For most filmmakers that would be all she wrote but not for Kevin and Scott.They decided to go back to their roots and make another low-budget indie and prove to Hollywood that they were here to stay. Their next film was the brilliant romantic comedy-drama, Chasing Amy. The tells the unfortunate twist of a male comic artist who falls in love with a lesbian woman, to the displeasure of his best friend.After self-financing, the majority of their initial projects (Mosier & Smith), 2001, Jay and Silent Bob Strike Back was Mosier's first big-budget ($20 million) production.Based on real-life stoners Jay and Silent Bob, so when they get no profit from a big-screen adaptation they set out to wreck the movie.If that wasn't enough Scott also co-executive produced the Oscar® Award-Winning Good Will Hunting in his spare time.Wanting a change Scott decided to branch out and start directing himself. His 2018 directorial debut was a stand-out project! A box office hit, grossing about $512 million globally and the highest-grossing holiday film of all time. Dr. Seuss: The Grinch became the third screen adaptation of the 1957 Dr. Seuss book, How the Grinch Stole Christmas.I had a ball talking shop with Scott. We discussed the genesis of the independent film movement as we know it today, dealing with studios, what was it like being in the Clerks hurricane, and much more.Enjoy my conversation with Scott Mosier.

Welcome to the WWSD Podcast; weekly we share discussions. This week Josh and Seamus are joined by writer and director Zak Knutson. Zak portrayed the iconic character of the Sexy Stud in Clerks II, but he has also written and directed the feature film Supercon. He too has directed the documentaries Milius and The Rainbow, and specials for Kevin Smith such as Too Fat for 40! and Burn in Hell. We discuss how he got into the industry, how he moved from acting to behind the scenes, working with Kevin Smith and Scott Mosier, getting his iconic role in Clerks II, making his documentaries, and writing/directing Supercon. As always enjoy!Check out more of Zak at Instagram | IMDb | CameoCheck out more of Josh and Seamus of the WWSD Podcast at linktr.ee/wwsdIf you would like to support the WWSD Podcast check out our patreon and get access to exclusive monthly content not released anywhere else, like the Load Boost After Math, The Roast of Seamus, and much more content released every month. https://www.patreon.com/wwsd_podcastThanks so much for listening! If you like this episode, please subscribe to “WWSD Podcast” and rate and review wherever you get your podcasts.Would you like to be a guest on the WWSD Podcast? Email us.

Writer/director Kevin Smith, producer Scott Mosier, actors Ben Affleck and Jason Mewes, associate producer Robert Hawk, Miramax executive Jon Gordon, and View Askew historian Vincent Pereira

Writer/director Kevin Smith, producer Scott Mosier, and View Askew Historian Vincent Pereira

Writer/director Kevin Smith, producer Scott Mosier, View Askew Historian Vincent Pereira, actors Ben Affleck, Jason Mewes, and Jason Lee

Writer/director/actor/producer/editor Kevin Smith, actor/producer/editor/sound editor Scott Mosier and actors Jeff Anderson, Brian O'Halloran and Jason Mewes

Writer/director Kevin Smith, actor/amateur animator Walt Flanagan, editor/producer Scott Mosier, lead actor Brian O'Halloran, drunken sidekick Jason Mewes, actor/cameraman/grip Vincent Pereira, and Film Threat's Malcolm Ingram

Rico & C.J. discuss which of the 3 versions of "How The Grinch Stole Christmas" is the best; choosing between the original TV special, the live-action Jim Carrey or "The Grinch" voiced by Benedict Cumberbatch co-directed by Scott Mosier... Which one(s) do we like?"You're a Mean One, Mr. Grinch"Lyrics written by Theodor "Dr. Seuss" GeiselMusic composed by Albert Hague Performed by Rico DiGiorgioPromo for Infectious GrooveFounding Member of OddPods Media Network

In this episode we try Smodcast ‘Have a Week' Juicy Pale Ale and the Jay & Silent Bob ‘Beers! Beers! Beers! Both beers made in Vancouver by Main Street Brewing.  Named after the eponymous weekly podcast that features Kevin and his long-time producing partner Scott Mosier aka @samosier — who met right here in Vancouver while both were attending film school back in the day — the ‘Have a Week' Juicy Pale Ale has a balanced profile that complements the papaya and citrus notes of the highlighted Mosaic hops and punches in at 5.5% ABV / 30 IBUs.  The Jay & Silent Bob ‘Beers! Beers! Beers!' Lager celebrates the dynamic cinematic duo (and Silent Bob's longtime — ahem — Mewes) in a perfectly crisp, clean and easy drinking 4.5% ABV lager for all occasions. Or, y'know, hanging out in front of the neighbourhood Quick Stop. It's inspired by Jay's rap from the iconic Jay and Silent Bob Strike Back entry in the View Askewniverse. Raison D-Etre recipe https://www.brewersfriend.com/homebrew/recipe/view/716588/dogfish-head-raison-d-etre-cone Subscribe for more from Smitty - http://www.youtube.com/subscription_center?add_user=SmittysBrewReview  Follow Smitty on Twitter - https://twitter.com/SmittysBrew  Follow Smitty on Instagram - https://twitter.com/SmittysBrew  Like Smitty on Facebook - https://www.facebook.com/SmittysBrewReview --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/apintwithfriends/message

"Beverly Hills" vs "Automatic" The BOYS are BACK talking about: The Final Four, Family Rock, The Trachtenberg Family Slideshow Players, The Shaggs, LMFAO, Monster Trucks, a taboo subject regarding Rivers Cuomo, then some more Kiss Discussion like always... I forgot to mention they talk about Kevin Smith and Scott Mosier but I'm guessing you assumed that at this point. Chumbawampa, Songs that are not representative of a band's output, Baha Men, Aerosmith, Alicia Silverstone, Chamber Music, and a call from @IvyLam22