Podcast appearances and mentions of Scott Mosier

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.

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 actors Jason Mewes, Trevor Fuhrmann, Brian O'Halloran, Jeff Anderson and Jennifer Schwalbach

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

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, View Askew Historian Vincent Pereira, actors Ben Affleck, Jason Mewes, and Jason Lee

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

 Vingt-cinquième épisode du BiscCast      Retour sur le thème des dessins animés et films d'animation dans cet épisode, avec un invité très calé sur le sujet : Mandrin ! Merci à lui pour sa participation et bonne écoute !  Les comptes Facebook, Twitter, Instagram sont disponibles aux adresses suivantes :   - FB : https://www.facebook.com/LeBiscCast   - Twitter : https://twitter.com/LeBiscCast   - Instagram : https://www.instagram.com/le_bisccast/   - Twitch : https://www.twitch.tv/lebisccast  - Youtube : https://www.youtube.com/channel/UC7IuP4lcD2IrAGlPyyeZRgw   - E-mail : bisccast@outlook.fr      Val' :   « The Office » (US) est une sitcom américaine créée par Ricky Gervais et Stephen Merchant diffusée entre le 24 mars 2005 et le 16 mai 2013 sur neuf saisons.    Mo' :  « Encanto : La Fantastique Famille Madrigal » est un long métrage d'animation et le 60e « Classique d'animation » des studios Disney, sorti en 2021. Il est réalisé par Byron Howard, Jared Bush et Charise Castro Smith. « Civilisation » est le quatrième album studio du rappeur français Orelsan, sorti en 2021. « Arcane » est une série d'animation américano-française produite par Riot Games prenant place dans l'univers du jeu vidéo League of Legends. Réalisée par Fortiche Production, elle est disponible sur Netflix en 2021.  « Une Bonne soirée » est le deuxième spectacle de Kyan Khojandi (le précedent était "Pulsions" que je recommande tout autant, disponible gratuitement sur Youtube : https://www.youtube.com/watch?v=u41ujNodvnM&t=11s&ab_channel=KyanKhojandi) encore en tournée jusqu'en 2022. « Halo Infinite » est un jeu vidéo de tir à la première personne développé par 343 Industries et édité par Xbox Game Studios, sorti le 8 décembre 2021 sur Windows, Xbox One et Xbox Series. C'est le sixième jeu principal de la série Halo. Mandrin :   « Mutafukaz » et ses spin off sont des séries de bandes dessinées françaises aux influences comics, west coast, ou encore western écrites par Run et publié en France par Ankama Éditions au Label 619 (http://www.label619.com/fr/acceuil), depuis 2006. Résumé de notre invité : "Un jeune homme et son pote le squelette luttent contre un mystérieux complot gouvernemental (et y'a des catcheurs et des nazis sur la lune mais chuuuuut)" (fin de citation)  « Coraline » est un film d'animation en volume américain réalisé par Henry Selick, sorti en 2009. Il s'agit d'une adaptation du roman éponyme de Neil Gaiman publié en 2002.  « Artölk » est le podcast de notre invité, qui parle d'art picturaux en général, disponible à cette adresse : https://soundcloud.com/art-tolk ou https://www.youtube.com/channel/UC_RL_1_6pW2N0BmKy6qFw8w     Et retrouver le travail de Mandrin dans :    - "Le Grinch", film d'animation américain réalisé par Yarrow Cheney et Scott Mosier, sorti en 2018 et disponible sur Netflix : https://www.netflix.com/title/80996790     - "Tous En Scene 2", film d'animation réalisé par Garth Jennings, sorti le 22 décembre 2021. (le trailer avec la voiture Rouge dans l'épisode : https://www.youtube.com/watch?v=EPZu5MA2uqI&ab_channel=Illumination)     - La Pub "DS4" : https://www.youtube.com/watch?v=IYFguJjOszo&ab_channel=DSFrance     - La Pub Mercedes-Benz pour les "League of Legends World 2021" : https://www.youtube.com/watch?v=L2V3BiRHbp4&fbclid=IwAR15jIm7iGKUKJl8v6RKglloZuMiC4iQ4U3CWEUHkWc95ihFSldPaTUAzMY&ab_channel=Mercedes-Benz     Si vous lisez ça vous êtes des petits enfants en train de pêcher sur la Lune !

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

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

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

CLERKS II, 2006.  Directed by Kevin Smith.  Produced by Scott Mosier.  Written by Kevin Smith.  Starring: Jeff Anderson, Brian O'Halloran, Rosario Dawson, Trevor Fehrman, Jennifer Schwalbach and Jason Mewes.

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

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.

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.

Après thirty-six, c'est thirty seven, voici la deuxième partie de l'épisode consacré à Clerks. Cornelius and Zira - Ep#37 – Clerks. (2e partie) On continue notre discussion sur Clerks. en compagnie de Randall Flag de PodRennes et Ca Va Trancher, ego de Seasons et Draven de 24FPS, GalactiFrak et ArteFrak Si jamais vous l'avez loupée, la première partie de l'épisode est disponible ici Cet épisode fait indirectement suite à l'épisode rétro de 24FPS consacré à Clerks 2 que l'on vous invite très chaleureusement à écouter ! 00 : 12 Introduction 02:00 Chapitre 7 : PURGATION 15:28 Chapitre 8 : MALAISE 27:30 8e point soundtrack : The Jesus Lizard - Panic in Cicero 29:15 Chapitre 9 : HARBINGER 38:59 9e point soundtrack : Golden Smog – Shooting Star Vous pouvez voir ici la scène animéedes funérailles de Julie Dwyer qui a été rajoutée dans l'édition anniversaire de Clerks, avec en prime quelques commentaire s de Scott Mosier et Kevin Smith 51:37 10e point soundtrack Bad Religion – Leaders and Followers 52:32 Chapitre 10 : PERSPICACITY 55:49 Chapitre 11 : PARADIGM (début) 01:07:13 11e point soundtrack Stabbing Westward - Violent Mood Swings (Crystal Method Remix) 1:07:49 Chapitre 11 : PARADIGM (suite et fin) 1:20:14 Chapitre 12 : WHIMSY 1:21:45 Chapitre 13 : QUANDARY 1:32:11 Chapitre 14 : LAMENTATION (Avec une intervention du chat de Randall Flag 1:39:09 Chapitre 15 : JUXTAPOSITION 1:58:15 Chapitre 16 : CATHARSIS 1:58:53 11e point soundtrack Corrosion of Conformity - Big Problem 02:05:59 12e point soundtrack Soul Asylum - Can't Even Tell Le clip de Can't Even Tell de Soul Asylum reprend de nombreux éléments de la scène de hockey et a été filmée sur le toit du Quick Stop avec de nombreux membres du casting 02:15:19 Il est peut-être temps de parler de la fin initialement prévue Cette fin originale, on peut encore la voir. Vous remarquerez que Dante ne chante pas la même chose que dans la version finale. Le fameux “Here comes Randall... He's a berserker” a été rajouté en post prod 02:22:05 On a fait un peu court, mais il est tout de même temps de conclure 02:27:21 Viendez à PoRrennes les 3 et 4 avril 2021 en restant chez-vous Bonne écoute et à tobien les spartiates ! Cornelius & Zira est un podcast du label PodShows. PodShows est une association à but non lucratif dont la mission est d'encourager l'expression audio-numérique en fournissant gratuitement à la communauté des moyens et des outils. On vous invite cordialement à les soutenir podCloud | iTunes | YouTube | Spotify | Twitter | Facebook

26  décembre 2020 à 12h sur Radio Pulsar, 95.9FM Poitiers — Les invités sont  Denis Mellier, professeur en cinéma et littérature à l'université de Poitiers et Olivier Rigaud, ancien programmateur du cinéma Le Dietrich, membre du CA, artiste et graphiste. Émission présentée par Héloïse Morel et Paul Boudault Sommaire :  Chronique de Margaux Première partie de l'entretien avec les invités Pause musicale : Trust, Petit Papa Noël, 1988 Rubrique Création sonore :  Patrick Treguer rencontre avec Will Guthrie en résonance du concert Nyst Nah Seconde partie de l'entretien avec les invités Chronique  "Un menu de Réveillon made in Nouvelle-Aquitaine" par Jean-Luc Terradillos, rédacteur en chef de la revue L'Actualité Nouvelle-Aquitaine Pause musicale : Will Guthrie Chronique de Margaux sur les pulls de Noël Agenda  Homescape Extraits diffusés dans l'émission : 1) Intro : tradition et joie de Noël vs. orphelins ELF - Jon Favreau (2003) BATMAN: The Animated Series - saison 1 - épisode "Christmas With The Joker" (1992) 2) Croire au Père Noël, à la magie de Noël ELF - Jon Favreau (2003) Emission du 07-12-2012 sur France Inter > Jean-Pierre Guéno au sujet de son livre "Le Secrétaire du Père Noël" 3) Esprit de Noël, retrouvailles familiales vs. Noël éloigné/solitaire BATMAN L'ALLIANCE DES HEROS (The Brave and the Bold) saison 1 - épisode "Invasion of the Secret Santas" (2008) ELF - Jon Favreau (2003) FUTURAMA saison 2 - épisode "Xmas Story" (1999) LA CROISIERE S'AMUSE (Loveboat) saison 1 - épisode "Douce Nuit" (Silent Night) (1977) BATMAN L'ALLIANCE DES HEROS (The Brave and the Bold) - épisode "Invasion of the Secret Santas" (2008) 4) Mauvais esprit et cupidité => méchant Père Noel C'EST ENCORE NOEL CHARLIE BROWN (It's Christmastime Again, Charlie Brown) - TV special (1992) VERY BAD SANTA (Santa's Slay) - David Steiman  (2005) LE GRINCH (animation) - Yarrow Cheney & Scott Mosier (2018) ELF - Jon Favreau (2003) VERY BAD SANTA (Santa's Slay) - David Steiman  (2005) FUTURAMA saison 2 - épisode "Xmas Story" (1999) LA CROISIERE S'AMUSE (Loveboat) saison 1 - épisode "Douce Nuit" (Silent Night) (1977)

Comment le Père Noël, paternel et bon samaritain, devient chaque année à Noël la pornstar la plus recherchée sur les Internets ? Comment les tubes déshabillent les personnages emblématiques des fêtes de fin d'année ? Comment le marché du sexe s'approprie ce qui reste avant tout un événement familial et enfantin ?Mina et Jade décryptent le phénomène de Noël version X où il sera question de rennes, de Mère Noël, de merchandising Pornhub et d'idées cadeaux pour la fin d'année. Pour plus de contenu exclusif et chaud comme la braise, viens suivre le N'importe cul sur Instagram Si tu es curieuse·x...Attention ! Certaines de ces pages internet hébergent des contenus non adaptés à un public de -18 ansle tag "furry", fétichisme pour des animaux humanisé. Concept et catégories à découvrir sur WikifurFutanari, indique des personnes hermaphrodites ainsi qu'un tag courant dans la culture porn.Rudolph, le petit renne au nez rouge"Let It Snow! Let It Snow! Let It Snow!" de Frank SinatraClaire de lune de Claude DebussyBilly Bob Thornton interpète un Père Noël sexualisé dans "Bad Santa" (2003)50 shades of Santa, parodie de "50 shades of Grey" (2015)Les Kassos, épisode #44 "Frozen Yogurt""Le Grinch" (2000) avec Jim Carrey et sa parodie Grinch XXX"The Mask" (1994) de Chuck RusselMichael VegasLe Grinch (2018) en 3D de Scott Mosier et Yarrow Chenney, produit par IlluminationMerchandising pornhub, pull de noelLe merchandising de Pornhub avec ses pulls de NoëlÉcoute le XXXmas Album de PornhubLe Calendrier de l'Avent d'Espace PlaisirLe Calendrier de l'avent rocco siffrediL'épisode #3 du N'importe Cul sur Rocco SiffrediLa collection de bougies surprises de Dorcel  CréditsCréé et animé par Mina et Jade. Produit par Candice Smadja et Fabrice Smadja. Prise de son, générique et montage par Maxence Moogin. Gestion de production Nicolas Bruneau. Musique de Stefano Mastronardi. Illustration d'Amandine Jonniaux.Un podcast Biscuit Audio Stories Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In the thirty-third episode of Season 1, Cult Flicks & Trash Picks, Kyle is joined by podcaster Eric Skippings (of the West Coast Popcast) and actor Ben McGinley to discuss Kevin Smith's rumination on the immobilization of purpose that is the hell of customer service in his debut of 90s slacker-ism malaise entitled Clerks.

Ben and Garth review the Wikipedia page for Kevin Smith. Let’s get you Edumacated as we Hollywood-Babble On about the Fatman on Batman as Get’s Old, Tell em’ Steve Dave. Kevin’s friends like Scott Mosier, Walt Flanagan, Brian Johnson and Jason Muse. Stan Lee was in Mallrats, Matt Damon was in Dogma and Jay and Silent Bob Strike Back, and Justin Long was a Walrus. Johnny Depp likes to party. Jaden Smith vs Harlequin Smith. The BETH podcast coming soon. Famous people’s kids and how Liv Tyler is the exception. George Foreman has 9 kids 5 sons and 4 daughters, the sons are call George and one daughter is called Georgetta, but the rest have normal names. Gilbert Godfrey as Patrick Swasey. The flap is the Epiglottis, the windpipe is the trachea and the food tube is the oesophagus. Reality shows that make you an astronaut, a police officer or make fans buy you new underwear. VIVA LA BAM! Harvey Weinstein, Bill Cosby and celebrity prison. https://en.wikipedia.org/wiki/Kevin_Smith Humour Door Facebook: https://www.facebook.com/HumourDoor Humour Door YouTube: https://www.youtube.com/channel/UCr5ucoBBUNfpjLfc0EWM0ww Humour Door Instagram: https://www.instagram.com/humourdoor/ Humour Door Twitter: @thehumourdoor humourdoor.com.au wikireviewpodcast@gmail.com Theme: I Live For The Bass Drum - DJ S3rl https://djs3rl.com Art Work: https://www.instagram.com/bjo0se/

In which our heroes analyze the Shadow Notes and the dope who wrote them. With Kevin Smith and Scott Mosier.

In which our heroes discover the key to American storytelling. With Kevin Smith and Scott Mosier.

Hello and happy Thursday! When it comes to being around Tom's good friend and client Scott Mosier, Tom is a sponge. He is loving being back in Scott's life and they are definitely vibrating on the same frequency. Tom is more present than ever and is learning the huge benefit to staying there. There isn't comparison, reference, looking back or looking forward - j u s t   n o w . The power in that is tangible and Tom feels like he is learning more about himself now than ever before and that's what he's selling on today's episode! Enjoy, and as always, thanks for listening! Be sure to like Pro You on Facebook, follow along @ProYouPodcast on Twitter and Instagram and check out @tomjdeters on Instagram for daily inspiration! *Not all exercises are suitable for everyone and this, or any other exercise program, may result in injury. Any user of the exercise program assumes the risk of injury resulting from performing the exercise. You should always speak to your doctor before you change, start or stop any part of your healthcare plan, including physical activity or exercise.*

This week we run back the Kevin Smith film, Dogma from 1999. We join Bethany, Jay, Silent Bob, Rufus, and Serendipity on their holy quest to stop Bartleby and Loki from unmaking existence. We discuss our personal religious experiences such as seeing people speak in tongues and paintings of a blonde hair, blue eyed Jesus. Jason stands up for Little Timmy and we decide if we're all just God's puppies. InstagramTikTokTwitterFacebook

In which our heroes discover an embarrassing journal from 1989, with Kevin Smith & Scott Mosier.

In this episode, we lay everything bare as we discuss a central character’s lack of character, atrocious stereotypes, and the missing film within the film as our hero @thatKevinSmith gets […]

In this episode, we lay everything bare as we discuss a central character’s lack of character, atrocious stereotypes, and the missing film within the film as our hero @thatKevinSmith gets […]

Jay talks about blow jobs and wait is that Scott Mosier?

Hockey playing continues and we get two doses of Scott Mosier.

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

There are times when the stars align and God in her Infinite wisdom shines a light on the world.  This tale follows one such man who took an opportunity and had a dream he never imagined come true.  Stephen Gris is a Canadian who like most people enjoy Kevin Smith. From his movies to his podcast he’s entertained him for years.  Then one Smodcast episode would change Gris life forever. Following Smodcast Episode 412 Boy Song Kevin Smith pondered the idea of writing a song.  Featuring his beloved puppy Shecky the song had a catch line and Scott Mosier added a little extra to the chorus.  Gris listened to that episode and thought hey Why Not give it a shot.   By taking that leap Stephen Gris found himself following a dreamers path all the way to having his music show up in Jay and Silent Bob Reboot and the Reboot Soundtrack. This is his tale and we appreciate him taking the time to join The Language of Bromance to tell it. Give a listen to The Language of Bromance and Stephen Gris in Episode 285 Touched by The Smuse The Shecky Don’t Like It Story featuring Stephen Gris. Email Bros@LanguageofBromance.com Like us on Facebook Leave a Review and Subscribe on Apple Podcast, Google Play Music, PodBros Network and Stitcher. Become a LOBarmy Patreon If you are going to do some Shopping on Amazon use our Amazon Link. Go to TweakedAudio.com and use the Promo code LOBarmy to get 33% off your order.   About Language of Bromance   Together Richard and Shawn formed the podcast The Language of Bromance and from there it has been nothing but fun. The duo laugh about things they go through, stories in the news and even getting serious discussing net neutrality along with other issues. Every so often their friendship turns to a bitter rivalry with their nerdiest creation the draft episodes. An original take on a best of or a top 10 list. The draft episodes are done like an NFL Draft 7 rounds where Richard and Shawn flip-flop picks on various topics.

Snowball Returns.  On this episode we speak to Scott Mosier again. Scott is a Canadian-American film director, film producer, editor, podcaster, writer and actor best known for his work with director Kevin Smith, with whom he occasionally co-hosts the weekly podcast, SModcast. Please support the Mark and Me Podcast here https://www.patreon.com/Markandme

Snowball.  On this episode we speak to Scott Mosier. Scott is a Canadian-American film director, film producer, editor, podcaster, writer and actor best known for his work with director Kevin Smith, with whom he occasionally co-hosts the weekly podcast, SModcast. Please support the Mark and Me Podcast here https://www.patreon.com/Markandme

The gang is back and better than ever, serving up some more of Kevin Smith's View Askew Universe love. They first discuss the latest news, discuss Bill Burr's newest standup special and cover the weekly poll. The main topic is a double feature, debating the merits of the blasphemous Dogma and the Looney Toons inspired Jay and Silent Bob Return. Brian’s Wacky News CornerNews: MoviePass is Shut Down (https://screenrant.com/moviepass-is-officially-shutting-down/)Cast of The Suicide Squad released by James Gunn Movies:Ad Astra Between Two Ferns: The Movie (Netflix)TV:American Horror Story: 1984 (FX)What We’ve Been ConsumingChrisThe Righteous Gemstones (HBO)Briani,i Bon IverChristianBill Burr: Paper Tiger (Netflix)Weekly Poll:Mallrats vs. Chasing AmyDogma (1999Directed by Kevin SmithWritten by Kevin SmithBudget: $10 millionGrossed: $31.4 millionJay and Silent Bob Strike Back (2001)Directed by Kevin SmithWritten by Kevin SmithBudget: $22 millionGrossed: $33.8 million

After multiple patrons and listeners requested, we sat down and watched Tusk on Netflix. We regretted our decision. This film is all blubber and no craft. Kevin Smith proves his limitations with this failure of a body horror film. In this Tusk Review episode we break down what went wrong and what went right with the execution. Skip to Intro - 0:42Skip to Trailer - 5:59Skip to Synopsis - 08:51Skip to Review - 10:23Skip to Score - 17:07 Skip to Spoilers - 21:36Skip to Final Recommendations - 1:02:04Skip to Taglines - 1:08:00Skip to Horror Movie News - 1:10:54 Skip to Outro - 1:28:34 Tusk Poster Also, the face I would make if I was forced to watch this movie again. Tusk Trailer https://youtu.be/BCQJnOn0ru0 Tusk Official HD Trailer Tusk Movie Synopsis This horror movie is brought to you by the same guy that brought you Yoga Hosers and Cop Out. He now brings you a body horror movie based on a joke craigslist personal ad. In Tusk, Justin Long, plays Walrus, I mean Wallace Bryton, who runs a podcast with friend Teddy Craft (Haley Joel Osmond). Their podcast is mostly based off of making fun of internet cringe videos, and as such, Wallace flies to Canada to interview this movie universes equivalent of the Star Wars kid. Watch TuskTusk Full MovieClick to Watch Tusk When Wallace arrives, he finds out that unfortunately, his interviewee has killed himself. Desperate to find material for their upcoming episode, Wallace then discovers a bizarre personal ad in the bathroom stall of a bar. He goes to meet an enigmatic retired seaman named Howard Howe played by Michael Parks. Mr Howard tells tale of his adventures at sea and of a particular shipwreck where he was miraculously saved by a passing walrus. Before long, Wallace finds himself drugged and captive to Howard's twisted plot to recreate his walrus savior at Wallace’s expense.  Short Review of Tusk Sound interesting? It’s not. Tusk is what you get when you make a movie based on a joke. The premise is entertaining enough for a fake trailer, but not a feature length film, and definitely not with Smith at the helm. I expected a lot more, but the commitment and budget did not pull off the intense and twisted body horror tale necessary to hold my attention. It was shot in 15 days with $3 million and it somehow feels more rushed and cheaper than that. Check Out Our Review of IT (2017) https://www.horrormovietalk.com/2019/09/04/it-2017-review/ Instead of focusing on the dread of slowly being turned into a Walrus, Smith focused on creating a panoply of redundant characters delivering redundant dialogue at length. For a body horror film, there is very little care given to the design and shooting of the actual body horror. Smith blows his load halfway through the film and really has nowhere to go after that. Score for Tusk Movie 2/10 Origin of the Idea of Tusk The movie is based on a fake ad from Chris Parkinson from Brighton, England. He offered free rent to anyone willing to dress in a walrus suit and pretend to be the animal for two hours a day. The advert was a hoax, but after Smith discussed it on his Smodcast podcast with co-host Scott Mosier, he began to think about mull the idea of turning it into a feature film. “Something snapped in my brain, and it’s only happened one other time in my life.” That other time was 20 years ago, when “I wondered why people didn’t make movies about me and my friends talking about movies and pussy and ‘Star Wars.’ So I did, and it was ‘Clerks,’” Smith said. The Good Elements of Tusk Michael Parks is undeniably, a great actor, and he gets to display his talents well in this movie. Kevin Smith states that he wrote the film specifically for Parks, and wouldn't make it without him. My favorite moments in the film were him doing a little delighted dance watching his victim, and him yelling ferociously as a whining Justin Long. Spoilers for Tusk

Mallrats is a centre-stone and influential film for pop culture. It had Stan Lee in a cameo before the Marvel films and introduced a connected film universe, before the MCU. Dylan, Ryan and Buddy discuss the comedy of Mallrats and its pop culture references. Buddy and Dylan especially, talk about how much they love this particular Kevin Smith film.Hosts:Dylan Blight: https://twitter.com/vivaladilRyan Betson: https://twitter.com/HaggardMC // The PopCulturists Buddy Watson: https://twitter.com/BuddyWatson12 // DashGamer.comRadio Mooby’s Credits:Music: https://filmmusic.io"Sax, Rock, and Roll" by Kevin MacLeod (https://incompetech.com)License: CC BY (http://creativecommons.org/licenses/by/4.0/)Art: Simon Blackburn: https://twitter.com/precisepathMallrats:Directed by: Kevin SmithProduced by: Scott Mosier, James Jacks, Sean DanielWritten by: Kevin SmithStarring: Shannen Doherty, Jeremy London, Jason Lee, Claire Forlani, Priscilla Barnes, Michael RookerProduction Company: View Askew Productions Distributed by: Gramercy PicturesAll Episodes: https://explosionnetwork.com/radio-moobys-a-view-askew-podcast-homeSupport Us:http://www.ko-fi.com/explosion

Avec les vacances de Noël, les films d’animations déferlent dans les salles. Mais lequel aller voir avec des (petits ou grands) enfants ? Les lutins de Certains l’Aiment à Chaud ! ont repéré pour vous 4 films à l’affiche et vous ont glissé un bel hors-série sous le sapin. 01:01 Le Grinch (2018) de Scott Mosier et Yarrow Cheney 09:20 Spider-Man : New Generation (Spider-Man : Into the Spider-Verse) (2018) de Bob Persichetti, Peter Ramsey et Rodney Rothman 28:25 Astérix - Le secret de la potion magique (2018) de Louis Clichy et Alexandre Astier 39:30 Miraï ma petite sœur (2018) de Mamoru Hosoda Émission animée par Thomas Bondon, Thierry de Pinsun, Héra Laskri et Carl Vincent. Générique : Kostia R. Yordanoff (tous droits réservés) Facebook/Instagram: @claacpodcast / Twitter: @CLAACpodcast

Hey everyone this week is a doozy. So put on your seat belts cause we are going for a ride. This week we talk everything from Scott Mosier to 90's skateboarding. With a little Fantasy Football in there for good measure. Its hard for me to write a description cause the episode really goes all over. The one thing that is consistent is the fact that we play music from one amazing band. Gym Class Heroes. I really hope you enjoy listening cause we had a blast recording it. Have a great week. Links below. YouTube: goo.gl/SnC8Kk Instagram: www.instagram.com/itshouldntbethishardpod/ Facebook: www.facebook.com/ItShouldntBeThisHard Email us at itshouldntbethishardpodcast@gmail.com Spotify Playlist: goo.gl/EiqiVa Anchor.fm: goo.gl/XzzR5Q Google Play Music: goo.gl/pe4mnt Stitcher: goo.gl/3RpbV3 iTunes: goo.gl/Zkt9Vj

In this Mini Movie Review, Xan & Gretta review the third adaption of the famous 1957 Holiday classic book by Dr Seuss. Is it better or worse than the last two adaptations? Well Grab some hot chocolate, put on your grinchiest face and enjoy as they review "Dr Seuss' The Grinch" directed by Yarrow Cheney and Scott Mosier. It is starring Benedict Cumberbatch, Rashida Jones, Kenan Thompson, Cameron Seely, and Angela Lansbury, and narration is  by Pharrell Williams. ----more---- As with our other mini reviews, this is not an official review, however our hosts compare this to the original television special from 1966, the live action film from 2000 and how it lives up to the legacy of the Grinch.   lease send us any comments concerns and ideas on how to make this podcast better. Let us know so we can do something about it. Rate us on iTunes, check out the facebook fangroup Spiraken Movie Review, purchase some stuff from our amazon store in order to fund this podcast and finally, listen to the primary podcast, The Spiraken Manga Review. Hope you enjoy the episode. Music Used in the Episode: Opening Theme- God Bless Ye Merry Gentlemen by Pentatonix (Dr Seuss' The Grinch OST) Our Website http://www.spiraken.com Our tumblr http://spiraken.tumblr.com/ Our Instagram  https://www.instagram.com/spiraken/Our Email Spiraken@gmail.com Xan's Email xan@spiraken.com Our Twitter Spiraken Xboxlive Gamertag Xan Spiraken Our Amazon Store http://www.amazon.com/shops/spiraken Random Question of the Day: Were you intimidated by this Grinch?

Scott and Matt return for a FEaB so captivating that they can only manage to muster one a year! Hear what Scott has been up to and what Matt's find out if Matt's bet on the Patriots paid off. (It does but it doesn't)

Les p'tits papiers d'Estelle / "Comment le Grinch a volé Noël" et autres albums du Dr Seuss, avec B. VIrot, éditeur, et S. Carrière, traducteur (rediff.) / L'Eveil d'automne, festival jeune public à la Générale, avec Rozenn Biardeau / Lecture de Lionel Chenail Les p’tits papiers d’Estelle Revue de presse d’Estelle Laurentin - c’est au début Paris : des espèces « en voie d’illumination » envahissent le jardin des Plantes : dans Le Parisien et dans le Figaro La Voix du Nord : Belgique Il va bientôt être possible de dormir avec les animaux Especes-menacees.fr : Le trafic de grands félins, une mode qui s’intensifie en France Libération : Le selfie avec un lionceau, une tendance qui se développe Le Monde : « La disparition des animaux pourrait remettre en cause nos modes de vie » Wapiti, magazine de l’actualité de la science et de la nature pour les 7/12 ans Tu savais pas, le petit magazine nature à partir de 8 ans Livres pour enfants : Les albums de Dr Seuss Interview de Benoit Virot éditeur, et Stephen Carrière, traducteur - c’est à 15 mn Mercredi prochain sort dans les salles "Le Grinch", un film d’animation réalisé par Yarrow Cheney et Scott Mosier des studios Illumination. Il est adapté de l’album pour enfants "Comment le Grinch a volé Noël", album publié par Dr Seuss dans les années 60. On peut espérer donc que cela va inciter les spectateurs, petits et grands, à découvrir l’œuvre de ce talentueux auteur illustrateur américain que les éditions du Nouvel Attila ont entrepris de traduire dans son entier depuis deux ans. 7 albums sont déjà parus, mais en novembre 2016 paraissaient les trois premiers albums. A cette occasion nous avions reçu à ce mircro Benoit Virot, éditeur du Nouvel Attila, et Stephen Carrière, le traducteur de Dr Seuss. C’est cet entretien que nous vous proposons de réécouter ce matin. Editions du Nouvel Attila Spectacles : L’Eveil d’automne, festival jeune public Interview de Rozenn Biardeau, programmatrice - c’est à 60 mn Quatrième édition de ce festival de création contemporaine jeune public, du 18 au 24 novembre à la Générale, 14, avenue parmentier, dans le 11e arrondissement. Tout au long de la semaine, le public peut y découvrir les créations de 9 compagnies dans une programmation de 15 représentations, mais également des temps d’ateliers et des espaces de lectures pour les enfants. Coup de projecteur avec Rozenn Biardeau, membre du collectif la Générale et co programmatrice du festival. Les infos On a écouté : Mon éléphant, Gibus, extrait de "Tam tam dans la brousse", Didier jeunesse, 2014 Les grandes questions, Serena Fissau, extrait de "Nouchka et la grande question", Le label dans la forêt, 2017 Un petit oiseau, un petit poisson, Juliette Greco Radio Minus, teaser Je ne veux pas être grand, Arno

"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

In this episode, we look back on one year of Adapt or Perish in our One Year Spectacular!!! For this episode, we read, watched, and discussed: Everything ever. Footnotes: The McElroy brothers, and their menagerie of podcasts, including: Sawbones, The Adventure Zone, and My Brother, My Brother, and Me. Buffering the Vampire Slayer, a bi-weekly podcast discussing every episode of Buffy the Vampire Slayer in order. How Did This Get Made?, one of the original bad movie podcasts. I’m Horrified. “Enter an abyss of lighthearted panic and heartfelt hysteria with a podcast that explores the ups and downs of being alive in 2018 (all through the lense of two unconscionably anxious women). The world is chaos: be horrified with us.” Serial and 99% Invisible, two of the best produced podcasts we’ve ever heard. Smodcast, Kevin Smith and Scott Mosier’s podcast. Doug Loves Movies, Doug Benson’s movie podcast. You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us online at adaptorperishcast.com. If you want to send us a question or comment, you can email us at adaptorperishcast@gmail.com or tweet using #adaptcast.

Face front, true believers! This week we get an early Christmas present in the form of an "Avengers: Infinity War" trailer, talk about the man behind Marvel Comics, Stan Lee, and cap off the hour with mention of the new anime film, "Batman: Ninja". Click here to watch the Infinity War trailer. Music and audio from "Avengers: Infinity War" is the property of Alan Silvestri, Joe & Anthony Russo, Kevin Feige, and Marvel Studios. Music and audio from "Mallrats" is the property of Ira Newborn, Kevin Smith, Sean Daniel, James Jacks, Scott Mosier, Alphaville, and View Askew Productions. Music and audio from "Spider-Man: The Animated Series" is the property of Shuki Levy, Kussa Mahchi, Udi Harpaz, Bob Richardson, John Semper, Marvel Entertainment Group, Marvel Films, New World Productions, and ABC-Disney Domestic Television. Click here to watch the Batman Ninja trailer. Music and audio from "Batman: Ninja" is the property of Yugo Kanno, Junpei Mizusaki, Kamikaze Douga, Warner Bros. Animation, and DC Entertainment. Special thanks to Jeremy Eckert for our theme song. Check out our Facebook page at www.facebook.com/batjarpodcast. Invite your friends to like our page! You can contact us at @thebatcookiejar on Twitter or you can send an e-mail to batjarpodcast@gmail.com. 

As Kevin Smith's partner-in-crime, Scott Mosier has experienced first hand the roiling changes in the indie filmmaking landscape. In this podcast, he opens up about the choices required to keep making distinctive films exactly to one's taste.

Scott and Matt discuss the Parisian lifestyle

Inspired by this week’s podcast interview with Scott Mosier, Daniel Ford and Sean Tuohy discuss how screenwriters and authors can still effectively surprise a media-saturated audience. The pair also chat about the different hustles involved in screenwriting and fiction writing, the right way to deal with literary jealousy, and what projects they are currently working on.

Producer/screenwriter/movie manimal Scott Mosier, whose credits include “Clerks,” "Good Will Hunting," “Chasing Amy,” “Dogma,” “Milius,” “A Band Called Death,” and “Ultimate Spider-Man,” talks to Sean Tuohy about what inspired him to get into filmmaking, the differences between producing a documentary versus a feature, exploring other storytelling mediums to inform your own work, and the challenge filmmakers face trying to surprise today’s media-saturated moviegoers. 

What a crazy episode! We watched the movie Clerks just for Mark J. since he has never seen it, but our attempt at a movie review quickly fell apart as we talked about death boners. This episode is funny, a bit vulgar and a little out of control. Join us for a extremely silly good time. Things we discuss: Banana eating, a new Friday the 13th movie, Kevin Smith's Clerks, Death Boners and Superfights. Note: I referred to Kevin Smith's producer as "Kevin Mosier". I know it's Scott Mosier. I blame the beer:)

Scott saw Star Wars, Matt considers a mustache.

Matt and Scott discuss madness, or music, or some combination of the two.

Movie Meltdown - Episode 338 This week we talk comedy, road trips and lots and lots of horror with comedian Derek Sheen. And while we figure out just where he took a left turn into a time hole, we also discuss... black and white monster movies, Phantasm, immediate descent into madness, Zacherle, Shock Waves, bag pipes, Scott Mosier, what is the marketability of this movie, Tom Savini, a car is essentially a bathroom without a toilet, Slumber Party Massacre, I just feel like there's something in the film that's going to manifest itself in the room, Zelda Rubinstein, the world was yours, John Carpenter, Maniac, Tales From The Crypt, Don't Look Now, White of the Eye, I've always wanted to be on-stage, you found a bunch of reels of 8mm can and this is what happened, Sleepaway Camp, the biggest horror now is trust, Children Shouldn't Play with Dead Things, From Beyond, self-aware horror, Chris Hardwick, Friday the 13th, The Devil's Rain, I shouldn't be playing this in my house... something malevolent is in the film - and I don't like it, Demons, having faith in the filmmaker, When a Stranger Calls, Asylum, Mondo Cane, having perfect pitch, understanding isolation, Black Christmas, The Witch, Matthew Fox, Powerball winners, Let's Scare Jessica to Death, he's a giant baby man, people are trying too hard to create content, The Accused, you're given the gift of doubt, Basket Case, it's all about the eyes, horror and suspense are very different, Leatherface on his downtime, what scares people is the unknown, Bone Tomahawk, this sad gorgeous cadenza, it's like a long-form Ramones video, Beyond the Door, crippling stage fright, there was no other distraction... other then the darkness, if you walk into it as a horror movie - it's going to break your brain, Martha Splatterhead, The Sentinel, compartmentalization, Forensic Files, what scares people is what's beyond the veil, Kill List, horror is dread, full of self-loathing, well I have to go to bed now, making chili out of people, an STD metaphor, the Serbian porn industry, it was just more claustrophobic to be watching movies like that knowing that the entire world was asleep, reconciling grief, Brewster's Millions, they confuse murder with horror, Anthony Jeselnik, you can't have a zombie apocalypse, at least I'm not filled with demons, B.o.B's theory, there isn't any alone time, weirdly titillated, birthing torsos, whistling past the graveyard, the closet door slowly opening, when you leave the theater it makes you look at every single person on the street, the Eyes Wide Shut syndrome, filled with asbestos, blood and gravity, when you remove reason completely... that's where horror comes in. Spoiler Alert: Some end of the movie spoilers for Friday the 13th, Sleepaway Camp, Session 9... oh and Derek completely destroys the myth of a zombie apocalypse. You have been warned! "Give me something that permeates the very fabric of my belief system." For more of Derek's comedy, records and tour dates, go to: http://derektime.com/

Matt and Scott discuss madness, or movies, or some combination of the two.

Matt and Scott discuss DNA, books, food and throw popcorn to Scott's dog Buddy.

This week Jason and Andre and you guys are lucky enough to have film producer Scott Mosier come pod with us!  Known for his work over the years with Kevin Smith, producing movies like Clerks, Dogma, Chasing Amy, and doing the weekly “smodcast” show with Kevin Smith.  Him and Andre went to the Belcampo Meat Company's “Meat Camp” in Northern California earlier this month, and they came on to talk about all the great meat stuff they did!

Scott Alan stopped by the League HQ to get into his move from 99.3 The Fox to Rock 101 and we get into a variety of other stuff. We get into Scott's common Centennial High School Alums, Scott Mosier and Matt Good before getting his opinions on the Canucks underwhelming season and the MLB. To top it off, we talk about the Man, the Myth, the Legend... Mr. Robert Gordon. We tend to get a little reminiscy in the Cave, STRAP IN!

Welcome to Epi81 of Succotash, The Comedy Podcast Podcast. I, Marc Hershon, am not alone this week. Joining me as co-host for the show, via Skype, is Associate Producer Tyson Saner! It was about a year ago that Tyson began sending me a stray clip or two, testing the waters to see if his choices jibed with the "flow of the show". And it wasn't long after that I recognized his value in helping me to canvas the vastness that is Podcastland in our ever-widening efforts to sample comedy podcasts. By the end of last summer he'd been named our Honorary Associate Producer. He supplies the show with at least three and as many as a half-dozen of the clips you hear every week, as well as giving me valuable background info on both the specific clips and the shows from which they've been harvested. At the beginning of the year he became our ACTUAL Associate Producer – as you can now hear in Bill Heywatt's closing credits – and this won't be the last time we hear his dulcet tones on the show, methinks. In the course of the show we find out a little of Tyson's background, how he stumbled into being a massive podcast listener and fan, how he found Succotash and what really catches his attention when it comes to deciding to click that Subscribe button on a show. We also have a DOZEN clips in this show, not to mention our Burst O' Durst, a brand new Henderson's Pants ad, and even a song from out of Tyson's repertoire of original music (most of which is available - for free - from SoundCloud!) PLUS we have a Special Bonus Interview at the very end of this epi! Keep listening after Bill Heywatt says "Goodbye!" to hear my interview with Cole Stratton, co-organizer of the 13th Annual San Francisco Sketchfest and co-host of podcasting's Pop My Culture. We were backstage (or "mid-stage", actually) following his appearance in Speechless (a show I help produce) at the Sketchfest. Our chat is only about nine minutes long but, as it comes at the end of the longest Succotash episode yet recorded, it's a while getting there. Top 10 Most Active Shows In Stitcher's Top 100 Comedy Podcast List No wild swings up or down the Stitcher 100 list this past week, but there definitely was some movement in the chart… AT                                                                        MOVED  9. SModcast >> Tell ‘Em, Steve-Dave                     +630. The Brian & Jill Show                                       -737. Fitzdog Radio                                                  +552. Keith & The Girl Comedy Talk Show                 -860. A Mediocre Time with Tom & Dan                    +772. Jim Florentine’s Metal Comedy Midgets           +573. Righteous Prick                                               +785. LightCast                                                        -794. SModcast >> FeaB                                          +2097. Never Not Funny/Jimmy Pardo                       -12 I guess there WAS a major jump up the charts, actually, if you look at Succotash's nuimbers. We went from #5945 last week to #5107 this week, so that's pretty sweet! The 2nd Annual Stitcher Awards were last week and I attended the ceremony, which was held at The Chapel in San Francisco. Many awards were given out for categories across the spectrum. I recount the winner in this episode of Succotash, but you can also go see the list of top prize getters on the Stitcher blog. Burst O' Durst In this episode's installment of comedian Will Durst's running commentary, he takes some potshots at the ultra-rich. Podcast Review For my portion of This Week In Comedy Podcasts over on Splitsider.com, I've reviewed The Nerdist with hosts Chris Hardwick, Jonah Ray, and Matt Mira, interview B.J. Novak, actor/writer from The Office and the author of a new book of short stories. The Clips Chillpak Hollywood HourThis week’s clip from CHH with Dean Haglund & Phil Leirness features them thanking me for catching a big ol’ audio snafu in their recent episode. (Hey, we podcasters have to help each other out, right?) SModcastVintage SModcast (from July 10th, 2008) wherein Kevin Smith turns ordinary circumstances into "What If?" adventure time, pushing Scott Mosier furthur and further outside his comfort zone as the "What if"s become more and more unlikey, bizarre and often outrageous. EdumacationThe idea behind this show (form the SModcast universe) is that Kevin Smith needs educating so Andy McElfresh brings in stories and information from around  the world while Kevin asks as many questions as he possibly can which Andy also attempts to answer.  Hilarity Ensues. This clip is of Andy attempting to apply real world diagnoses to the cast of The Cosby Kids. Fitzdog RadioBobcat Goldthwait’s always entertaining and this time Greg Fitzsimmons has him. We get an interesting glimpse into the life of the once celebrated madman comedian whose ambition these days is all about making and directing movies. To fuel his interest, he’s back in the clubs, which leads to an interesting series of comedy club anecdotes. Perfectly ImperfectThis panel-based comedy commentary show features four variously "challenged" hosts – Kathy Buckley, Tobias Forrest, Geri Jewell and Mark Povinelli – who take off on, debate, and otherwise have their way with a variety of topics. In this clip, it's about marriage equality and Muppets. Broadcast BasementI was a guest with Chris Lanuti, the main host of podcasting’s Broadcast Basement this week. He asked me what kinds of podcasts I don’t particular like and which ones I do. Also how Broadcast Basement can get mentioned on our show more. Having me on as a guest is obviously one way… Nardwuar, The Human ServietteNardwuar's chats with musicians are among some of the most unique in the history of music interviews. He plays his own version of This Is Your Life complete with memorabilia and gifts for his guests. In this clip, he's speaking with eclectic musician Jaap Blonk. Do The Right ThingAnother fine British recommendation from our friend @Good_Podcasts, Do The Right Thing is a comedy panel show hosted by Danielle Ward with team captains Michael Legge and Margaret Cabourn-Smith. Guest team members this week are Jason Manford & Sara Pascoe. In the “Agony Aunt” sequence this episode, the panel answers a letter about how to deal with a free-loading, loser former best friend. Comedy Bang BangHosted by Scott Aukerman, the premise of the show is simple: Scott interviews celebrities, musicians and comedians. Another comedian or performer comes in after the initial interview  and pretends to be someone else – sometimes a famous actor, but often a character from a television  show, or sometimes a brand new original character. The featured guest is Park & Rec's Nick Offerman, who is interrupted by a whiny, pissy Paul Giamatti…voiced to perfection by James Adomian. A Mediocre Time with Tom & DanThis show was one of the six podcasts nominated for Best Comedy Podcast for the recent Stitcher Awards. The winner was Comedy Bang Bang, but it must mean something that Tom and Dan got in there. They’ve got a subscription model show and a free version and they do their show out of Orlando, Florida. In this clip, they ruminate about Salem witch trials, a hot new restaurant idea, and they also talk about making it big in Nashville with one of their songs. Adam & JPGot a note AND a clip in the Tweetsack this week from the Adam & JP podcast: “Hey Marc, I just recently found your show and I love it.  Really great work! In advance, thanks for giving us a shout out. Basically, we talk all things geek (gaming, comics, movies, music, pop culture) with a comedic slant.  We host a two hour radio show on a local station every Saturday morning and do a weekly podcast.  I have attached a clip from our latest episode, in case you wanted to use it. Thanks again and we would love to chat with you on the show sometime to discuss your show." J Patrick Pretty funny stuff, guys! That's a pretty full show! Almost TWO hours of Succotash! Enjoy it, savor it, and please remember to pass the Succotash along, too! — Marc Hershon

Back from the dead. Or the nearly dead. Or at least the severely Laryngytised. Is that a thing? Anyway, my throat and voicebox were down for the count with a nasty virus. Still playing a little hurt, but I’m ready to muscle through with Epi62 of Succotash, the Comedy Podcast Podcast! We’re diving heavy into clips this episode. Some new shows. Some old favorites. Got a new Henderson’s Pants ad. Have an unprecedented TRIPLE shot of Burst O’ Durst because we got so far behind. And we actually had someone FINALLY click the Donate button on the http://SuccotashShow.com website! (It’s been over a year since anyone’s touched it but it’s happened and I reveal who it was AND give the person a big ol’ wet sloppy thank you in the TweetSack segment this episode. (Oh, what the heck, I'm going to spoiler alert it right here and thank Geoffrey Welchman, our buddy over at the Inverse Delirium podcast for his generous clicking of the Succotash Donate button!) THE 10 MOST ACTIVE IN THE STITCHER TOP 100 COMEDY PODCAST LIST Even though I was out for a bit, those active podcasts kept marching up and down the list over at Stitcher. Here's how this week's MOST active shows shook out: 39. My Brother, My Brother & Me +3151. The Naughty Show +2063. Too Beautiful to Live with Luke Burbank -2369. The Dead Authors Podcast +4182. Cashing In With TJ Miller -2184. Rollin’ with Dice & Wheels -3785. Tom Rhodes Radio +28391. This Week In Blackness Radio -2497. The New York City Crime Report with Pat Dixon +1899. Answer Me This -24 BOGANWOOD Friend-of-Succotash Jabs over at the DHead Factor put together an interesting "mini-series" of a podcast a few months ago. The show, done narrator or storyteller style by Jabs, chronicles the misadventures of a bunch of low-rent Aussies who live in Boganwood, "Canberra, Australia's forgotten suburb". Delivered in eight episodes, it's an ambitious little project that demonstrates the ability for practically anyone living anywhere to produce inventive entertainment via podcasting. For the next 8 episodes of Succotash, I'm going to feature the Boganwood episodes of Season 1, and we'll also have some conversations with Jabs about the series - where he got the idea, how he executed it, and how plans are coming along for Season 2. We kick off this mini-featurette with Episode 1 in this edition of Succotash. THE CLIPS Tom Rhodes RadioTom Rhodes is one of those veteran standup comedians who has traveled the world, literally, performing and sometimes NOT performing comedy. At one point he had made the San Francisco scene his hang, but since then he’s been around quite a few comedy scenes. Podcasting is the latest scene and he’s been quietly dropping episodes since 2011. This week Tom Rhodes Radio makes a mighty leap up 283 places to get into the Stitcher’s Comedy Top 100. He interviews guest Andy Kindler (who visited us during Succotash Epi55.) SModcast/FEaB After watching this show ricochet around in the Stitcher Top 100 for the past few weeks, I finally listened to enough of it to find out that FEaB stands for Four Eyes And Beard, which are indicative of the two hosts – Matt Myra, who is also part of The Nerdist with Chris Hardwick, and Scott Mosier, who partners with Kevin Smith on the original Smodcast. (I’m not sure, but I think the Smodcast Network is slowly taking over all of podcasting. They’re like the Borg of the internet.) Live Wire! Radio With Luke Burbank, Courtenay Hameister, Sean McGrath, Patricia Ferguson, Live Wire! Radio is a audio variety show recorded in front of an enthusiastic live audience from the Alberta Rose Theatre in Portland. They've got music, conversation, and sketch comedy. It's "radio variety for the A.D.D. generation", as they say on their homesite. Guests this episode include Jen Kirkman, Dan Savage, and The Builders & The Butchers. But our clip is one of their home-brewed sketches about a somewhat different genie… Pablo Francisco: Anything GoesComedian Pablo Francisco has joined up with the ever-growing Sideshow Network to enter the rolls of comics-with-podcasts. In the clippage we share, he takes a look at someone with a lot of fame and fortune that also recently revealed that he’s spent millions on blow. About Last Night Adam Ray and Brad Williams are 55 episodes into this podcast and going strong. Both are comedians, and both are irreverent. Adam Ray’s in that new movie The Heat that just opened, and their guest this episode is pop culture TV host Michael Ho, who also got to interview President Obama after the last election’s disastrous first debate. (I also reviewed this show on last week's This Week In Comedy Podcasts on Splitsider.com - check it out!) Proudly ResentsThis is Adam Spiegleman’s podcast where he and assorted friends like to take movie apart at the seams. Sometime old movies. Sometimes new movies. And, in the case of one recent episode, kids movies. Specifically, Adam invites a friend over with her kids to talk about what they thought of TWO kids movies – A Talking Cat? and Tommy & The Cool Mule. Kids make great reviewers because they pretty much always tell the truth…when you can get them to talk. Air-Raid PodcastWe’ve featured some clippage from the Air-Raid podcast out of Seattle before, with host Aaron Roden, and it’s often more hot new music rather than comedy. But Aaron does pull down some nice chatter, including recently when he took his mics to The Sasquatch Music Festival at the Gorge in Washington State. He ran across comedian Mike Birbiglia, who was performing at the festival, and sliced off a little interview, with a cell phone cameo appearance by You Made It Weird host Pete Holmes. Rutledge Radio Hosted by comedian Gabriel Rutledge and his wife, stay-at-home-mom Kristi Rutledge, their Rutledge Radio hails from Olympia, Washington. In our clip Gabriel talks about the misery and false hope of the audition process. It's good to be back, and with so many clips! If you'd like to make sure we get to your show, you can always send us a 3-5 minutes MP3 clip to clips@SuccotashShow.com.  or, if you just like what we're doing, jump on up to iTunes and gives us a healthy rating and maybe a short review. We'll be your bestest friend! Especially if you remember to pass the Succotash! — Marc Hershon

My interview with Scott Mosier is a testament to just how engaging and compelling the story of (and the story behind) "A Band Called Death" is. I wanted to cover some other subjects during our conversation, since Scott is an accomplished filmmaker, writer and podcaster — but we never made it past "A Band Called Death," which he produced. We geeked out about it for 45 minutes, and both of us could've kept going for at least another hour.

Kevin's Birthday Show! GUESTS: Jason Mewes, Scott Mosier, Gail Stanley, Ralph Garman, Jensen Karp, Mike Tadross, Raymond Quinlan, Kevin Pollak, Brian O'Halloran, Jon Gordon, Nicholas Braun, Bryan Johnson, Ming Chen, Walt Flanagan, Brian Quinn

The hosts start this week talking about recent news – the royal wedding, Irelands economy and give their unique views.  Liam whilst searching the web finds a list of topics which are apparently related to the WKTRS podcast, find out just how many really are as the pair rectify the problem by discussing each weird point in detail.  David & Liam think of different  ideas for the future (Batman Live!), talk about how much more exciting the show would be if they talked about the Baha’i faith and ponder what a flower punk band is.  The news stories this week feature a weird ceremony and an inappropriate advertisement.  Liam gave David some Kevin Smith DVD’s a few weeks back and take time to discuss them in detail, favourite jokes, favourite Scott Mosier cameos and much more!  All this week on The We Killed The Radio Star Podcast! Thanks to music.mevio.com for providing music for this podcast.  Please check out www.wekilledtheradiostar.com. The song this week was Thirty-Something by Kelly Brock!