Podcasts about slasher film festival strategy

This episode was originally released in May 2022. In this Cinema Shock Rewind episode, we're revisiting our episode on Frank Oz's LITTLE SHOP OF HORRORS. Oz got his start as Jim Henson's closest collaborator, working with Jim during the Muppets' early years, and serving as a key piece of the Muppets' creative framework through the years of The Muppet Show and the subsequent feature films. In fact, Oz made his solo directorial debut on THE MUPPETS TAKE MANHANTTAN, which led to him being courted for LITTLE SHOP OF HORRORS not long after. In this episode, we'll tell you the full story of how LITTLE SHOP OF HORRORS was made, now with the added context of Oz's participation in the world of The Muppets. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"Hey, I tell you what is. Big city, hmm? Live, work, huh? But not city only. Only peoples. Peoples is peoples. No is buildings. Is tomatoes, huh? Is peoples, is dancing, is music, is potatoes. So, peoples is peoples. Okay?" With his dream project THE DARK CRYSTAL taking so much of his time and energy, Jim Henson was content to slim down his role on the next Muppet project and allow his right hand man Frank Oz to take the helm in his first solo directing feature. THE MUPPETS TAKE MANHATTAN would be the last Muppet film that Henson would be involved with before his untimely passing a few years later, but the film's legacy would have a lasting impact on his company, especially in the form of the Muppet Babies, who'd get their own Saturday morning cartoon, inspired by a sequence from the film. And let's not forget the media circus that surrounded the wedding of the century! In this episode, we give all the details on how the film came to be, from its concept, multiple script changes, release and beyond! Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Join the Community: Substack | Discord Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"Another world, another time, in the age of wonder. A thousand years ago, this land was green and good - until the Crystal cracked." After the completion of THE GREAT MUPPET CAPER, Jim Henson focused on a project that had been in the works for years — its earliest seeds were planted well before even The Muppet Show had begun production — an ambitious fantasy film made in collaboration with renowned illustrator Brian Froud. That film, THE DARK CRYSTAL, would be Jim's most ambitious project to date. It's a film that pushed the limits of what puppetry was capable of, essentially creating an entirely new artform that would change the landscape of movie special effects for years to come. But it was also a great artistic and financial risk for Henson. When it was released, audiences didn't quite know what to think of it, but the film has become to be considered a bonafide classic in the decades since. In this episode, we'll detail the years long process to bring THE DARK CRYSTAL to the screen. D&D LIVE FOR CHARITY, Hosted by Mr. Todd A. Davis Comedians, Drag Performers, and Pro Wrestlers play Dungeons & Dragons in front of a LIVE audience to benefit The Julie Valentine Center!

"There'll be mystery and catastrophe! But it's all in fun, you paid the money - wait and see! Hey! A movie! Starring everybody! And me!" After the success of THE MUPPET MOVIE, Jim Henson had hoped to get funding for a fantasy film that had become a sort of dream project of his. But that film — which would not feature the beloved and recognizable Muppets — would be a sizeable risk, so his producer convinced him to strike while the iron was hot and make a sequel to THE MUPPET MOVIE before embarking on his ambitious fantasy project. This time around, Jim Henson himself would be in the director's chair, creating a new adventure for the Muppet gang that would be a send-up of classic Hollywood films. In this episode of Jim Henson: Heart Felt, we'll detail the full story of how THE GREAT MUPPET CAPER was made, from its early script woes, through its envelope-pushing puppetry innovations, and its eventual release and reception, where it was met with high expecations. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

“Life's like a movie. Write your own ending. Keep believing. Keep pretending.” With The Muppet Show, Jim Henson had reached the goal that he'd set for himself many years before: He'd managed to get his beloved Muppets their own weekly television series. Not only that, but it was an enormous success, quickly becoming one of the most watched television shows in the entire world. The Muppets were as big as they'd ever been. The next step seemed logical: The Muppets were going to Hollywood. Getting them there wouldn't be as straight-forward as you might think. After all, what Jim was proposing to do — bringing the Muppets out of their highly-controlled sutdio environment and into the real world — was unprecedented, and there was a question as to whether it'd work at all. In the latest episode of Jim Henson: Heart Felt, we're telling the complete story of just how Henson pulled it off, and how he created one of the most beloved films of the 1970s, one that still resonated with audiences nearly half a century later. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | Lucy Lawson | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

By the mid-1970s, Jim Henson and the Muppets were as big as they'd ever been. They'd helped turn Sesame Street into a household name and continued to be a hot commodity on the variety show circuit. But Jim had yet to do the one thing he'd been trying to accomplish since the early 1960s: Create a prime time television show starring the Muppets, and one that wasn't solely aimed at a preschool audience. He made several attempts along the way, filming several pilots with varying degrees of sucess, and even had a stint alongside the Not Ready For Prime Time Players on the first season of Saturday Night Live, but it would take a while before he was able to convince anyone to give The Muppets a shot at their own show. That all changed in 1976, with a little help from Julie Andrews (yep, that Julie Andrews) and a British Lord. With the debut of The Muppet Show, Jim and his gang of puppeteers would become one of the biggest pop culture phenomenons on the planet. This is the story of how they got there. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Interzone78 | Jackson_Baker | Justin V. | lolodrummer | Nate Izod | Nathan Kelley | qoheleth | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

It's time to start a brand new series here on Cinema Shock! For the next few weeks, we'll be telling the story of Jim Henson. To truly tell the story of Henson's life and career, we have to go all the way back to the beginning: In this inaugural episode, we'll explore Jim's early years, through the creation of his first TV show, SAM & FRIENDS (where Kermit the Frog made his first appearance), his groundbreaking commercial work, and the years spent working on THE JIMMY DEAN SHOW. Join us for Jim Henson, Episode 1: "The Birth of The Muppets." Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Justin V. | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"I'm afraid to close my eyes, I'm afraid to open them." 1999 was a landmark year for film, and several films released that year have had a lasting impact, greatly influencing everything that followed. And with the possible exception of THE MATRIX, few films have had changed their respective genres as much as THE BLAIR WITCH PROJECT. Created by a handful of film students for practically no money, THE BLAIR WITCH PROJECT has become the stuff of legend. It's a film that popularized the found footage genre, essentially created viral marketing, and changed the horror genre forever. The story of how it got made is nearly as interesting as the film itself, filled with wild swings, unconventional shooting methods, lucky breaks, and tough decisions. It was lightning in a bottle, landing at just the right time in history to become a cultural sensation, ultimately turning it into the most profitable independent film of all time. In this episode, we delve deep into the making of the film, coming at it from every angle, to provide you with the full story of how this legendary film came to be. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | asotirov | Benjamin Yates | Caverly | Curt M. | Elton Novara | Justin V. | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

We've decided to wrap up 2024 with a look at a few films that are celebrating their 25th anniversary this year. 1999 has become known as one of the best movie years of all time. While we've already touched on some of the biggest films of that year (THE MATRIX, FIGHT CLUB), there are a handful of films from that year that may not fit into one of our long form series, and we wanted to make sure they got their due. So for this (short) series, each of our hosts have picked out a film from 1999 that they'd like to discuss, starting with Todd's pick, THE IRON GIANT. Brad Bird's debut film has gone on to become a beloved animation classic, but its story didn't start that way: When it debuted in 1999, the film — thanks to a practically non-existent marketing campaign from Warner Bros — came and went from theaters with most audiences totally unaware of its existence. But in the quarter century since, it has not only managed to find an audience, but it's gained a reputation as one of the greatest animated films of all time. In this episode, we trace its origins (which involves, we kid you not, the death of Sylvia Plath and a Pete Townshend album), all the way through its development, release, and eventual rediscovery. We will also, as always, discuss our own thoughts and feelings on the film, its legacy, and the important lessons it has to teach us. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. Up Next: THE BOONDOCK SAINTS. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | Benjamin Yates | Curt M. | Elton Novara | Justin V. | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

"I'm twelve. But I've been twelve for a long time." For the latest radomly chosen Cinema Shock Roulette entry, the wheels of fate have taken us to Sweden, where we'll explore the story behind Tomas Alfredson's LET THE RIGHT ONE IN. Based on the novel by John Ajvide Lindqvist, LET THE RIGHT ONE IN was almost instantly recognized as a modern day horror classic when it was released in 2008. In this episode, we'll walk through its entire process of how the film came to be, from its origins as a Swedish-language novel, through its development and eventual release as a film from a director not known for working within the horror genre. This is everything you need to know about LET THE RIGHT ONE IN. Want to support the show? Subscribers of CinemaShock+ can enjoy an extended version of this episode, which includes bonus segments and additional content, plus get access to all episodes two days early, exclusive merchandise discounts, and more. Join now at cinemashock.net/plus. Up Next: Cinema Shock Roulette: THE IRON GIANT. ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | Benjamin Yates | Curt M. | Elton Novara | Justin V. | Nate Izod | Nathan Kelley | Robert Stinson Become an Associate Producer by joining CinemaShock+. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After working on the short first season of TWIN PEAKS, David Lynch felt the pull back to feature length filmmaking when he was given a book called Wild At Heart by Barry Gifford. The book seemed ripe for a big screen adaptation and David Lynch immediately began work on it. Within a couple of months, he found himself in New Orleans with stars Nicolas Cage and Laura Dern, plus a host of regular Lynch collaborators. The production and release of WILD AT HEART was a whirlwind. The film went from the script stage to production in a matter of months, and within the year, the film was making its premire at the Cannes Film Festival, where it took home the festival's most prestigious prize, the Palm d'Or, a win that came with no small amount of controversy. In this episode of Cinema Shock — the season finale for our David Lynch: Absurd Encounters series — we will recount the story of how WILD AT HEART came to be, how it was conceived and produced, and how it was ultimately received by critics and audiences. While this is our final episode in our current series covering the career of David Lynch, our journey through Lynch's work is not over. In the coming weeks, we will be launching Fire Shock With Me, a TWIN PEAKS watch-along series where we will be working our way through Lynch's seminal TV series in its entirety. Those episodes will be available exclusively to our $5 and up subscribers on CinemaShock+, where you'll also find extended versions of all David Lynch episodes that include additional bonus segments. Join now at cinemashock.net/plus. At the conclusion of Fire Shock With Me, in early 2025, we'll be circling back to the films of David Lynch, covering the remainder of his filmography, beginning with TWIN PEAKS: FIRE WALK WITH ME all the way through INLAND EMPIRE and TWIN PEAKS: THE RETURN. Up Next: Cinema Shock Roulette: LET THE RIGHT ONE IN ASSOCIATE PRODUCERS: Andrew C. | Andy Lancaster | Benjamin Yates | Curt M. | Elton Novara | Justin V. | Nate Izod | Nathan Kelley | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

NOTE: This is the full BLUE VELVET episode. If you listened to the first half that we posted two weeks ago, you can fast forward to the 1 hour 33 minute mark. "I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret." DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question. But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD. And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision. That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career. Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week. Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot). ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Elton Novara | Jvance325 | MagicBloat | Nate Izod | Robert Stinson Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"I'm seeing something that was always hidden. I'm in the middle of a mystery and it's all secret." DUNE, David Lynch's first (and only) foray into big budget studio filmmaking was an unmitigated disaster, both critically and commercially, and in the wake of its failure, his career as a film director was in question. But thanks to his own inability to stop creating, and incredible support from his DUNE producer Dino De Laurentiis, Lynch was not only able to continue working in film, but his next film would be the the most personal, idiosyncratic film that he'd created since his debut ERASERHEAD. And although he didn't know it at the time, it was also the film that not only reinvigorated his career, but defined him as an artist, one with an uncompromising artistic vision. That film is BLUE VELVET. And on this episdoe, we'll discuss how the film was created, from its inception as a "fragment" of an idea to it being filmed on the streets of Wilmington, North Carolina, and its legacy as one of the greatest films of the 1980s and one of the most important films of Lynch's career. Please Note: This is Part 1 of a 2 part discussion on BLUE VELVET. The 2nd part of this conversation — including the Extended Episode with our "Somebody Needs A Nap" and "Further Viewing" segments — will be released next week. Up Next: David Lynch: Episode 6: TWIN PEAKS (Pilot). ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

For this special BONUS episode, we sat down for a chat with Max Evry, author of A Masterpiece in Disarray: David Lynch's Dune - An Oral History, one of the most comprehensive behind-the-scenes books that we've come across, and one that was a major resource for our episode covering the making of DUNE. In this interview, we chat with Max about all things DUNE, David Lynch, Hollywood book-to-film adapatations, and somehow, the 1993 movie SUPER MARIO BROS. Max interviewed a lot of the folks involved in the making of DUNE (including Lynch himself!), making his insights into the film's creation wholly unique. We can't thank him enough for taking the time to sit down with us! Follow Max Evry on X at @maxevry and Instagram at @maxevry1 and visit his website at maxevry.com. Purchase your copy of Masterpiece in Disarray on Amazon, your local independent bookstore, or wherever else books are sold. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After the critical and commercial success of THE ELEPHANT MAN, David Lynch was suddenly a hot commodity in Hollywood, although it soon became clear that, although many studios were seeking out the idiosyncratic director, what they wanted was another ELEPHANT MAN, and not another ERASERHEAD. While Lynch would pass on many of the projects offered to him (which we document in this episode), he eventually signed on to direct Frank Herbert's sprawling science fiction epic DUNE for famed Italian producer Dino De Laurentiis. The resulting film was, for Lynch, "a great sadness," a betrayal of his own artistic sensibilities and a film that was reviled by critics and ignored by audiences. Although it's gained a modest cult following in the 40 years since its release, it's generally considered a failure by most, even die hard fans of David Lynch. In this episode, we'll tell you everything you want to know about how DUNE came to be, from previous directors who'd attempted to adapt it, to how Lynch became involved, and the myriad of troubles that the cast and crew had while making the film in Mexico. We'll also discuss the film's eventual release, its legacy, and the incredible impact that it had on Lynch's career going forward. An Extended Episode — exclusive to CinemaShock+ subscribers — contains bonus content including our fan favorite "Somebody Needs A Nap" segment (where we read and react to reviews of DUNE that we've found on the far reaches of the internet), our "Further Viewing" recommendations and more! Join now at cinemashock.net/plus. Up Next: David Lynch: Episode 5: BLUE VELVET. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod | Elton Novara Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

ERASERHEAD's success on the Midnight Movie circuit didn't suddently thrust David Lynch onto Hollywood's A-list but it did turn some heads. Some of those who were impressed by his debut feature included producer Stuart Cornfeld (THE FLY) and legendary filmmaker Mel Brooks (BLAZING SADDLES), who recruited Lynch to direct a biopic of a disfigured man in Victorian England titled THE ELEPHANT MAN. In this episode, we'll reveal the full story behind Lynch's sophomore film; how (and why) he was pursued to direct a film that, on the surface, seems like a far cry from his surreal debut; and how an unknown American director traveled to England, where he'd direct some of Britain's most well-respected actors in a film that would ultimately become his breakthrough, earning the director awards and accolades, and altering the course of his career. Getting there wasn't easy. In this, the third part of our series exploring the career of David Lymch, we'll tell you everything you ever wanted to know about how David Lynch's THE ELEPHANT MAN came to be. Bonus content available for Cinema Shock suppporters: An extended episode with over 30 minutes of additional content which includes bonus segments and further insights into THE ELEPHANT MAN and David Lynch is available exclusively to members of CinemaShock+. Up Next: David Lynch: Episode 3: THE ELEPHANT MAN. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After spending his youth pursuing "the art life," David Lynch dipped his toe into the medium of film with his shorts THE ALPHABET and THE GRANDMOTHER.  With THE GRANDMOTHER, he received attention from the American Film Institute, who invited him to move to the West Coast, where he'd spend a whopping five years working on what would become his feature film debut, ERASERHEAD. In this episode, we'll discuss the creation of ERASERHEAD, through all of its ups-and-(many)downs, its mysteries, its near abandonment, and how it nearly didn't receive a release at all before being "discovered" by Ben Barenholtz, who turned it into a bonafide hit on the Midnight Movie circuit, forever altering the trajectory of Lynch's career. Bonus content available for Cinema Shock suppporters: An extended episode with over 30 minutes of additional content, that includes, among other things, a Further Viewing segment — where we suggest other films to pair with ERASERHEAD — and the fan favorite Somebody Needs a Nap segment — where we read and react to some of the more ridiculous reviews of the film that we've found on the internet — and is available exclusively to our supporters in our $5 and up tiers. Join now on Fourthwall. Up Next: David Lynch: Episode 3: THE ELEPHANT MAN. ASSOCIATE PRODUCERS: Andy Lancaster | Benjamin Yates | curtcake5k | Jvance325 | MagicBloat | Nate Izod Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net    

Chris Ashley of Slasher Film Festival Strategy joins this week to discuss his recent work with Cadabra Records.  We discuss his background in hardcore punk and the early influences that motivated him to embark on this dark journey into intense electronic music.   Intro:    “All of the Dark Things” – Mike Hill Outro:  “Deimos” – Slasher Film Festival Strategy

When we started our Alejandro Jodorowsky series last year, we began a loose exploration of the history of the Midnight Movies phenomenon of the 1970s (as documented in J. Hoberman and Jonathan Rosenbaum's iconic book on the subject). Before we wrap up that discussion with David Lynch's ERASERHEAD (coming soon!), we couldn't skip past what is probably the most iconic Midnight Movie of all time, THE ROCKY HORROR PICTURE SHOW. What started as a small stage production in an experiemental theater space in London quickly grew to a worldwide phenomenon and it, to this day, the longest running continuous theatrical release of all time.  In this episode, we trace ROCKY HORROR's entire history, from its early days on the London stage through its move across the pond to the US, its disastrous original theatrical run, and its eventual rise as the most impactful Cult Film of all time. You may think you already know everything about THE ROCKY HORROR PICTURE SHOW, but on this episode, we'll give you the full story behind this iconic movie. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

In this standalone episode, we're discussing Richard Kelly's modern cult classic DONNIE DARKO! DONNIE DARKO's journey to the screen was one fraught with difficulties from the very beginning: Few studios were willing to take a chance on a young, unproven director, and once the film did finally get made, getting it released at all was nearly impossible, with most distributors intimidated by the unconventional film. Once it was finally released, it was a huge flop. So how did DONNIE DARKO go on to become one of the most significant cult films of the last 25 years? In this episode, we tell the full story behind the film, from its inception, through production and release, and ultimately, how the film found new life to become the classic that we know it as today. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

For the final episode in our series David Fincher: Rules of the Game, we're taking a look at the story behind his 2007 true crime drama ZODIAC. For his follow-up to the crowd-pleasing popcorn thriller PANIC ROOM, David Fincher went in a far different direction with a meticulously researched look at the investigation into the real life Zodiac Killer murders in northern California in the late 1960s. In this episode, we trace the creation of ZODIAC, from its origins as a true crime book (written by San Francisco Chronicle cartoonist Robert Graysmith, who's portrayed by Jake Gyllenhaal in the film) through its years in development at different studios, all the way through Fincher's involvement, the filming, and eventual release.  Up Next: DONNIE DARKO. UPCOMING LIVE EVENT: Cinema Shock & GutPunch Cinema present Cult Class: DONNIE DARKO. A live screening of Richard Kelly's cult classic, with an introduction by the Cinema Shock Team.  Coffee Underground | Greenville, SC Tuesday, May 21 Doors: 6:30 | Movie: 7:00 Tickets: https://gutpunchcinema.square.site/ Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net  

FIGHT CLUB had been a grueling shoot for David Fincher and, at least upon first release, had alienated both audiences and critics alike. So when it was time for Fincher to move on to his next film, he sought out something a little simpler, something that wouldn't involve the hundreds of locations that he'd dealt with on FIGHT CLUB and one that was designed as pure entertainment. A "popcorn movie." It should have been simple. Unfortunately, the reality of shooting his next film was anything but easy. It ended up being a difficult shoot for a variety of reasons, not the least of which was Fincher's own inability to be flexible, a hard-earned lesson that he took with him to future projects. In this, the penultimate episode of our David Fincher series, we trace the full production history of PANIC ROOM, from script to screen and beyond. Up Next: David Fincher — Rules of the Game, Part 7: ZODIAC. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

After back-to-back successes with SE7EN and THE GAME, David Fincher found himself at the top of Hollywood's A-list, proving that he could produce hit films without abandoning his dark sensibilites.  His next project, however, would put his reputation to the test. Although it's now considered a classic — and may very well be Fincher's most widely-seen film — when FIGHT CLUB was released in 1999, it was met with controversy, a negative critical reception, and disappointing box office returns. In this episode, we'll trace the entire history of FIGHT CLUB, from its inception as a novel to Fincher's development of the film and subsequent battles with the studio over the story's content, all the way through its divisive release in the fall of 1999, as well as how its legacy stands today, a quarter century after its initial release. Up Next: David Fincher — Rules of the Game, Part 6: PANIC ROOM. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

After the success of SE7EN, David Fincher returned to a film that he'd started developing before deciding to prioritize the serial killer film that would put him on the map. That film was THE GAME, a twist-filled thriller that's often overlooked and underappreciated during discussions of the director's filmography, but one that still features all of the skill, cynicism, and wit that have become staples of Fincher's work. In this episode, we'll discuss the creation of THE GAME, from script to shoot to screen and everything in-between, as we continue our deep dive into the films and career of David Fincher. Up Next: David Fincher — Rules of the Game, Part 5: FIGHT CLUB. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

After spending years in Development Hell, the production of ALIEN 3 finally moved forward once first-time feature director David Fincher came on board. But it wasn't smooth sailing from there. The story of ALIEN 3's production is one of a legendary disaster, one where studio interference turned the film into one that was so compromised that its director disowns it to this day. In this episode, we will discuss all of the trials and tribulations that Fincher and his cast and crew went through while making ALIEN 3 and we'll discuss its legacy not only in the annals of science fiction, but in the scope of Fincher's overall career. Is ALIEN 3 the unmitigated disaster that many (including its director) would have us believe it is, or was it simply misunderstood by audiences who saw it in 1992? Up Next: David Fincher — Rules of the Game, Part 3: SE7EN. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

"People will say, 'There are a million ways to shoot a scene', but I don't think so. I think there're two, maybe. And the other one is wrong." — David Fincher David Fincher has a reputation for being an exacting, meticulous director, one who sees an entire film in his head and who will do whatever it takes to get that vision onscreen. While that way of working has helped him to produce a filmography filled with modern classic — everything from the cult classics THE GAME and FIGHT CLUB to award winning prestige films like THE SOCIAL NETWORK and ZODIAC — it also has a tendency to cause friction between him and anyone who isn't fully on board with his vision. In this new series, David Fincher: Rules of the Game, we'll be exploring the first decade and a half of Fincher's career, beginning with his oft-maligned debut film, ALIEN3 In this introductory episode, we'll explore the years that the third ALIEN film spent in development hell, a time in which is went through multiple story variations, nearly a dozen writers, and several directors before Fincher ever even came on board. We'll also be taking a look at Fincher's life and career before ALIEN3 and the years that he spent as an award-winning and highly influential director of commercials and music videos. Up Next: David Fincher — Rules of the Game, Part 2: ALIEN3. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop & Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

For our next series here on Cinema Shock, we're going to be taking a look at the films of David Fincher, including his feature film debut ALIEN3.  Since ALIEN3's history — which includes years spent in development hell, multiple directors and multiple screenwriters — is so tightly weaved into the history of the films in the franchise that preceded it, we wanted to give our listeners a chance to revisit the stories behind the productions of those films. We recently re-published our episode covering Ridley Scott's ALIEN and we continue the story here, with James Cameron's ALIENS. This episode was originally released in June of 2022 as part of our series James Cameron: Man of Tomorrow. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

For our next series here on Cinema Shock, we're going to be taking a look at the films of David Fincher, including his feature film debut ALIEN3.  Since ALIEN3's history — which includes years spent in development hell, multiple directors and multiple screenwriters — is so tightly weaved into the history of the films in the franchise that preceded it, we wanted to give our listeners a chance to revisit the stories behind the productions of those films, beginning with Ridley Scott's ALIEN. This episode was originally released in April of 2021 as part of our series The Unsung Legacy of Dan O'Bannon. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net  

In this special bonus episode, Justin, Gary and Todd take a look at every sequel to ONCE UPON A TIME IN CHINA! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

In this bonus episode, Justin and Gary sit down to discuss their picks for films that would make a great companion piece to Andrzej Żuławski's POSSESSION! Have a great idea for a film that'd work great as a double feature with POSSESSION? Let us know by sending us a message on social media! You can find us @cinema_shock on most social platforms! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

Gary and Justin sit down and talk with professional wrestler 'Thrillbilly' Silas Mason about being in the ring with Zac Efron and Jeremy Allen White for A24's new film THE IRON CLAW - In theaters now! Check out this interview and let us know what you think! Should we try to do more interviews? Also let us know if you've seen The Iron Claw yet! You can hit us up on all social media - @cinema_shock Silas currently wrestles for Billy Corgan's (The Smashing Pumpkins) professional wrestling promotion, The National Wrestling Alliance (NWA). Check them out at youtube.com/@nwa and @nwa on all social media. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net

In this very special Further Viewing episode, we're going to take a good look at one of the weirdest horror franchises to ever exist. After a controversial first offering and a so-bad-its-good sequel, the SILENT NIGHT, DEADLY NIGHT series inexplicably still managed to produce an additional three films, all released straight-to-video. While the first of these releases, SILENT NIGHT, DEADLY NIGHT 3: BETTER WATCH OUT! concludes the Ricky Caldwell storyline from the first two films, Parts 4 & 5 (INITIATION and THE TOYMAKER, respectively) tell standalone stories set against the backdrop of Christmas, courtesy of SOCIETY and BRIDE OF RE-ANIMATOR filmmaker Brian Yuzna. The story behind these sequels is as bizarre as the films themselves, so as a little added bonus to our recent Cinema Shock Christmas Special, our gift to you is an episode exploring the history behind the remainder of the SILENT NIGHT, DEADLY NIGHT franchise. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net

"Garbage day!" Merry Christmas from Cinema Shock! For this week's episode, we're doing something special and taking a break from our Roulette Extravaganza to give you a holiday-focused deep dive into not one but two of our favorite cult Christmas movies. First up is one of the most controversial slashers of the 80s, one that was so immediatley infamous that its studio pulled it from theaters almost immediatley, despite it doing decent business at the box office. SILENT NIGHT, DEADLY NIGHT has gone on to become one of the most popular and well-regarded entries in the highly specific Killer Santa subgenre. Not wanting to let a good money-making controversy go to waste, the rights owners for SILENT NIGHT, DEADLY NIGHT rushed a quickie, no-budget sequel into production just a few weeks after the first film hit home video and SILENT NIGHT, DEADLY NIGHT PART 2 is as famous — if not more so — than its predecessor, but for... entirely different reasons. In this episode, we take a detailed look at the productions of these two films, and grapple with their legacies as holiday cult movie staples. SYNOPSIS: Little Billy witnesses his parents being brutally murdered by Santa. Years later, when he has to fill in for an absent in-store Santa Claus, his childhood trauma materializes once again. After being traumatized by his brother Billy's murderous rampage years earlier, Ricky Caldwell has become a serial killer himself and is now living in a mental hospital. Relating his story to a psychiatrist, Ricky recounts the details of their murder sprees and vows to avenge his brother's death. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

As we continue our Cinema Shock Roulette Extravaganza, our next randomly-selected film is Paul W.S. Anderson's 1997 sci-fi horror flick EVENT HORIZON! In this episode, we take a look at the best film of Anderson's career (it's a low bar, folks) and track its tumultuous journey to the big screen, from the earliest versions of its ALIEN-inspired script through the controversial release of an edit of the film that suffered due to a rushed post-production schedule. Did you ever want to know everything there is to know about EVENT HORIZON? Well, you've come to the right place! In 2047, a group of astronauts are sent to investigate and salvage the starship Event Horizon which disappeared mysteriously 7 years before on its maiden voyage. However, it soon becomes evident that something sinister resides in its corridors, and that the horrors that befell the Event Horizon's previous journey are still present. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, and Justin Bishop.. For episode archives, merch, show notes, and more, visit cinemashock.net  

Our Roulette Extravaganza continues on this week's episode with a look at Michael Lehmann's 1989 cult classic HEATHERS! Synopsis: A girl who halfheartedly tries to be part of the "in crowd" of her school meets a rebel who teaches her a more devious way to play social politics: by killing the popular kids. In this deep dive into the making of HEATHERS, we'll trace the story back to screenwriter Daniel Waters' days working in a video store where he began writing his script, all the way through production, release and the re-discovery of this cult teen film. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne & Justin Bishop. For episode archives, merch, show notes, and more, visit cinemashock.net

For the 100th (!!) episode of Cinema Shock, we sat down to discuss one of the most insane cult films ever made, Nobuhiko Ôbayashi 1977 spook-a-blast haunted house flick HOUSE! In this episode, we take a deep dive into the story behind the production of HOUSE, how it all came to be in an uncertain time during Japan's film history, and the career of director Nobuhiko Ôbayashi.  Thank you to all of our loyal listeners for supporting us for 100 episodes! If you enjoyed this episode, send it to anyone you think may enjoy it, and be excellent to each other! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Welcome to the CINEMA SHOCK HALLOWEEN SPECIAL! A few weeks ago, we were invited by our friends at GUTPUNCH asked us to co-host a live screening of NOSFERATU for the first ever Cinema Shock live event! While we were able to discuss a lot of the film's backstory at that screening, the history of NOSFERATU is so rich that we felt it deserved a true, Cinema Shock-style deep dive. So in this, our Halloween gift to you, we're going to discuss the full story behind the creation of one of the most influential horror films of all time, F.W. Murnau's NOSFERATU! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

While our look at the collaborations between John Waters and Divine may be over, we felt that the story of Waters' journey from the underground to the mainstream wasn't complete without a discussion of the Broadway show inspired by one of his films and subsequent musical that followed. So instead of discussing a John Waters film proper, we're instead going to take a look at the story behind the 2007 musical remake of HAIRSPRAY and the Broadway sensation that inspired it in the final episode of our series John Waters: Divine Trash. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

On the heels of DESPERATE LIVING — and its disappointing box office — John Waters knew that he needed a hit, and that he needed his leading lady back. Once again teaming with Divine, Waters set out to make a film that was a little more palatable to mass audiences, one that wouldn't rely on shock value to get its laughs. The resulting film was POLYESTER, released in 1981. Co-starring 50s silver screen heartthrob Tab Hunter, the film would also utilize the infamous "Odorama" scratch-n-sniff card gimmick during its initial release. In this episode, we'll discuss just how Waters went from the subversive, abrasive DESPERATE LIVING to the Douglas Sirk-esque melodrama of POLYESTER, how he got Tab Hunter (and Debbie Harry!) involved, and how the film was received by audiences at the time.  Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

After FEMALE TROUBLE, Divine — John Waters' muse — found his off-screen career beginning to flourish. When it was time for Waters to make his follow up to that film, that meant that Divine was unavailable, due to prior commitments. So for the first time in his career, Waters set out to make a film without his regular leading lady in the lead role. The resulting film, DESPERATE LIVING, is Waters' most ambitious from this time period and is considered the final act in his so called Trash Trilogy. Unfortunately, possibly due to its lack of Divine, the film doesn't seem to garner the same amount of love as many of Waters' other early films, and was a box office disappointment, even by underground movie standards. In this episode, we'll discuss in detail how DESPERATE LIVING came to be, the (many) trials and tribulations that its cast and crew endured during film, how cult icon Liz Renay became involved, and what critics and audiences of the time thought of it. Plus, we'll discuss our own thoughts on the film, its legacy, and its relation to Waters' career as we continue our deep dive into Waters' early films. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net  

"One must remember that there is such a thing as good bad taste and bad bad taste." — John Waters In our new series, John Waters: Divine Filth, we'll be exploring the stories behind Waters' early films, specifically the films made during the years when he collaborated with his muse, the legendary drag performer Divine. During the nearly two decades that they made films together, Waters' films moved from the fringes, with underground short films like HAG IN A BLACK LEATHER JACKET and EAT YOUR MAKEUP, to the multiplexes, with their mainstream breakthrough HAIRSPRAY. In this episode, we'll tell the story of Waters' early years growing up in Baltimore, how he began making films with likeminded misfits (his regular troupe of cast and crew, The Dreamlanders), and through the production of his first narrative feature of note, MULTIPLE MANIACS. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

Following the unparalelled success of Sam Raimi's first SPIDER-MAN film, Sony was naturally very keen to get to work immediately on a sequel. With a returning cast and crew, Raimi set about on creating a film that would come to be known as one of the greatest superhero movies of all time. In this episode, we'll deep dive into the development and production of SPIDER-MAN 2. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis. For episode archives, merch, show notes, and more, visit cinemashock.net

In this News Roundup episode, we'll be discussing the ongoing reprecussions of the ongoing Writers Strike, the premise of Quentin Tarantino's next film, and reactions for a couple of much-hyped films that recently premiered at the Cannes Film Festival! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

After a long, long road, the rights to the Spider-Man character finally landed with Sony/Columbia and before long, director Sam Raimi was attached to direct. In this episode, we'll take a deep dive into the creation of Raimi's first SPIDER-MAN film, from the early days of its conception, through multiple screenplays (and screenwriters), the casting of Tobey Maguire and Kirsten Dunst in the film's lead roles, all the way through filming and release. We'll also dig into the film's legacy and how it led the way for the current comic book movie boom, in Part 2 of our look at Sam Raimi's SPIDER-MAN Trilogy. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

In this BONUS EPISODE, the Cinema Shock guys discuss some of the latest news to come out of Hollywood, including casting news for BEETLEJUICE 2, a possible FAST X trilogy, and the WGA Writers Strike! Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

When we covered Sam Raimi's spook-a-blast cinema a few months ago in our series Sam Raimi: The Entertainer, we made a promise to our listeners that we'd soon be covering the director's SPIDER-MAN films as well. And folks, say what you will about the Cinema Shock crew, but we keep our promises! We're kicking this series off with something a little different. During the course of our research, we realized that the road that led to Raimi's first SPIDER-MAN film was a long one, fraught with starts and stops over the course of several decades, with several prominent directors being attached to adaptations of the character over the years. And we figured, this was far too much information to cram into an episode about the production of SPIDER-MAN (2002), and it was all far too interesting to skip over and, besides, one can see the fingerprints of some of these other attempted SPIDER-MAN films in the final product. So join us on The Road To Spider-Man as we trace the history of the webslinger's journey to the big screen in Sam Raimi's Spider-Man Trilogy, Part 1! Show Notes:

It's time for a new longform series here on Cinema Shock! Want to know what it is? Well, you'll have to listen to this week's bonus episode for the announcement! Hint: It's a follow-up to one of our previous series. Hmmm... Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

It's time for another Cinema Shock Roulette episode! In these episodes, an episode from our source list is chosen at random, only this time fate has chosen a film that ties into a past Cinema Shock series! Back at the end of 2021, we released a four-part series called Black Christmas, in which we discussed the Christmas-set films of writer/director Shane Black. One film we didn't discuss during that episode is Black's 2016 film THE NICE GUYS. Well, now it's time to do just that. In this episode, we'll trace the production of THE NICE GUYS from conception to release, and discuss the film's legacy as a part of Black's filmography. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

After a years-long absence from the world of filmmaking, Alejandro Jodorowsky made his return to movies with the help of Italian producer Claudio Argento. Their collaborative effort, 1989's SANTA SANGRE, is often considered Jodorowsky's best work. But its journey to the screen was not always an easy one. In this, our final episode in our series covering the films of Alejandro Jodorowsky, we'll take a detailed look at the story behind the production of the controversial director's most accessible film. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.

After EL TOPO became a cult sensation in New York City and beyond, the doors were open for Alejandro Jodorowsky to begin work on his next film. The resulting film — largely funded by John Lennon and Yoko Ono! — is one of the director's seminal works, a metaphysical journey through the Tarot and the other esoteric practices that Jodorowsky surrounded himself with. It's also, in keeping with tradition, really, really weird. And like its predecessor, THE HOLY MOUNTAIN proved to be, and continues to be, a highly controversial work. In this episode, we'll trace the film's origins through production and release, and discuss its divisive legacy 50 years after its original run. Theme Song: "There's Still a Little Bit of Time, If We Hurry and I Mean Hurry" by Slasher Film Festival Strategy. This episode was written, produced and edited by Gary Horne, Justin Bishop, and Todd A. Davis.