Podcasts about smithee

How do you approach reclaiming or disavowing your creative outputs that you don't love? This week, Aaron, Joey, and Jess talk about Smithee-ing, TV edits, résumé writing, Spike Jonze, sportsball, and the DC Universe. They don't talk about Cordwainer Bird. references "God of Wine" Alan Smithee on IMDB Spike Jonze Charles Barkley The Room Spread your wings 

01.29.2025 | Orison | Pastor Cory Smithee

The news of Texas covered today includes:Our Lone Star story of the day: The “scripted” responses from Democrat officials, and predictably wrong media narrative, over yet another assassination attempt of Donald Trump should, but sadly won't, awaken all Americans to the big lie that has been Leftist projection on so-called rhetoric and political speech. Alleged shooter hid for nearly 12 hours before Secret Service saw him at golf course FBI Affidavit Indicates Alleged Would-Be Assassin Had SKS Rifle Ryan Routh, armed man arrested at Trump golf course, posted prolifically about Ukraine war, has long rap sheet Would-be Trump Assassin Had Biden-Harris Bumper Sticker Trump Assassination Suspect Donated 19 Times to Democrats MSNBC Guest: Donald Trump Is ‘Exactly Like Hitler' Texas Dem U.S. Rep. Crockett: MAGA Is a Domestic Threat, Trump Is Stoking Them Our Lone Star story of the day is sponsored by Allied Compliance Services providing the best service in DOT, business and personal drug and alcohol testing since 1995.Bexar County pulled a fast one with their register-more-Democrats-to-vote scheme. Mailed the stuff out before the court hearing over barring them from doing so.Amarillo's Rep. Smithee finally decides to run for House Speaker. His best chance is as a safe compromise candidate and it might work. Also a far-Left Democrat, Ana-María Rodríguez Ramos, has filed for Speaker as well.Listen on the radio, or station stream, at 5pm Central. Click for our radio and streaming affiliates.www.PrattonTexas.com

Chad also discusses the perceived "lesser of two evils" between Donald Trump and President Biden.

Chad also discusses the perceived "lesser of two evils" between Donald Trump and President Biden.

06.12.2024 | Crazy Love | Pastor Cory Smithee

This week on The Tinsel Factory, a look into the TV edits of Alan Smithee, the film that exposed him, and the Smithee's of the next generation. Movie Reviews: The First Omen Support This Podcast: https://anchor.fm/tinselfactorypod  Merch: https://shop.spreadshirt.com/the-tinsel-factory/all Venmo: @tinselfactorypod Buy Me a Coffee: buymeacoffee.com/tinselpod Letterboxd: https://letterboxd.com/tinselfactory/ Sources: Directed by Allen Smithee edited by Jeremy Braddock & Stephen Hock https://www.avclub.com/my-year-of-flops-inside-hollywood-edition-case-file-1-1798214128 https://www.nathanrabin.com/happy-place/2022/6/28/an-alan-smithee-film-burn-hollywood-burn-ended-bad-boy-screenwriter-joe-eszterhas-career-a-true-mercy-killing https://www.dga.org/-/media/Files/Contracts/DGACreativeRightsHandbook2023-26.ashx?la=en&hash=718CBDF9C7E2215E1E77C9FFC6C225B0FB3478A4 https://ew.com/article/2015/02/06/david-o-russell-film-you-were-never-supposed-see/ https://www.mentalfloss.com/article/49912/8-pseudonyms-famous-writers-and-directors-used-movie-credits --- Send in a voice message: https://podcasters.spotify.com/pod/show/tinselfactorypod/message Support this podcast: https://podcasters.spotify.com/pod/show/tinselfactorypod/support

This week on Integrate: Faith & Innovate, we speak with Ben Smithee, CEO of The Smithee Group. Ben explains his entrepreneurial background and his calling and journey in starting The Smithee Group. He also shares the importance of integrating faith and work, some practical ways he incorporates them, and how you can. Tune in now to learn more!

The news of Texas covered today includes:Our Lone Star story of the day: “Gift for mayor of Hutto ignites uproar,” read a headline in the Austin American-Statesman this week. The lesson here is that those who claim so much around them is “racist” are themselves so stewed in racist thought that they cannot conceive of people are are not. What we need do is to start ignoring the always-offended when they simply impute into others racist intent. Prove it, make a case for intent, or sit down and live with the rest of us.Our Lone Star story of the day is sponsored by Allied Compliance Services providing the best service in DOT, business and personal drug and alcohol testing since 1995.Amarillo's state Rep. John Smithee is being pushed to challenge for the Texas House speaker's gavel. I'll tell you why Smithee might be very good but why you should not jump on any bandwagon at this time.Court ruling on transvestite shows for children has a prima facie problem: The ruling talks all about “drag shows” but the law is about lewd performance of any type in front of children.Border Patrol chief makes surprise visit to his old post at Eagle Pass this week. Listen on the radio, or station stream, at 5pm Central. Click for our radio and streaming affiliates. www.PrattonTexas.com

A wonderful discussion with artist and educator Aynslee Moon Smithee. Aynslee is a mom, educator, artist and pastor. We discuss her journey as an artist and mom, creating meaningful work, finding time to create and more!

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----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 are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   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.

This week, we continue out look back at the films released by Miramax in the 1980s, focusing on 1987. ----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 are continuing our miniseries on the movies released by Miramax Films in the 1980s, concentrating on their releases from 1987, the year Miramax would begin its climb towards the top of the independent distribution mountain.   The first film Miramax would release in 1987 was Lizzie Borden's Working Girls.   And yes, Lizzie Borden is her birth name. Sort of. Her name was originally Linda Elizabeth Borden, and at the age of eleven, when she learned about the infamous accused double murderer, she told her parents she wanted to only be addressed as Lizzie. At the age of 18, after graduating high school and heading off to the private women's liberal arts college Wellesley, she would legally change her name to Lizzie Borden.   After graduating with a fine arts degree, Borden would move to New York City, where she held a variety of jobs, including being both a painter and an art critic for the influential Artforum magazine, until she attended a retrospective of Jean-Luc Godard movies, when she was inspired to become a filmmaker herself.   Her first film, shot in 1974, was a documentary, Regrouping, about four female artists who were part of a collective that incorporated avant-garde techniques borrowed from performance art, as the collective slowly breaks apart. One of the four artists was a twenty-three year old painter who would later make film history herself as the first female director to win the Academy Award for Best Director, Kathryn Bigelow.    But Regrouping didn't get much attention when it was released in 1976, and it would take Borden five years to make her first dramatic narrative, Born in Flames, another movie which would also feature Ms. Bigelow in a supporting role. Borden would not only write, produce and direct this film about two different groups of feminists who operate pirate radio stations in New York City which ends with the bombing of the broadcast antenna atop the World Trade Center, she would also edit the film and act as one of the cinematographers. The film would become one of the first instances of Afrofuturism in film, and would become a cultural touchstone in 2016 when a restored print of the film screened around the world to great critical acclaim, and would tie for 243rd place in the 2022 Sight and Sound poll of The Greatest Films Ever Made. Other films that tied with include Preston Sturges' Sullivan's Travels, Woody Allen's Annie Hall, David Cronenberg's Videodrome, and Stanley Kubrick's A Clockwork Orange. A   Yes, it's that good, and it would cost only $30k to produce.   But while Born in Flames wasn't recognized as revolutionary in 1983, it would help her raise $300k for her next movie, about the lives of sex workers in New York City. The idea would come to her while working on Born in Flames, as she became intrigued about prostitution after meeting some well-educated women on the film who worked a few shifts a week at a brothel to earn extra money or to pay for their education. Like many, her perception of prostitution were women who worked the streets, when in truth streetwalkers only accounted for about 15% of the business. During the writing of the script, she began visiting brothels in New York City and learned about the rituals involved in the business of selling sex, especially intrigued how many of the sex workers looked out for each other mentally, physically and hygienically.   Along with Sandra Kay, who would play one of the ladies of the night in the film, Borden worked up a script that didn't glamorize or grossly exaggerate the sex industry, avoiding such storytelling tropes as the hooker with a heart of gold or girls forced into prostitution due to extraordinary circumstances. Most of the ladies playing prostitutes were played by unknown actresses working off-Broadway, while the johns were non-actors recruited through word of mouth between Borden's friends and the occasional ad in one of the city's sex magazines.   Production on Working Girls would begin in March 1985, with many of the sets being built in Borden's loft in Manhattan, with moveable walls to accommodate whatever needed to be shot on any given day. While $300k would be ten times what she had on Born in Flames, Borden would stretch her budget to the max by still shooting in 16mm, in the hopes that the footage would look good enough should the finished film be purchased by a distributor and blown up to 35mm for theatrical exhibition.   After a month of shooting, which involved copious amounts of both male and female nudity, Borden would spend six months editing her film. By early 1986, she had a 91 minute cut ready to go, and she and her producer would submit the film to play at that year's Cannes Film Festival. While the film would not be selected to compete for the coveted Palme D'Or, it would be selected for the Directors' Fortnight, a parallel program that would also include Spike Lee's She's Gotta Have It, Alex Cox's Sid and Nancy, Denys Arcand's The Decline of the American Empire, and Chantel Akerman's Golden Eighties.   The film would get into some trouble when it was invited to screen at the Toronto Film Festival a few months later. The movie would have to be approved by the Ontario Film and Video Review Board before being allowed to show at the festival. However, the board would not approve the film without two cuts, including one scene which depicted the quote unquote graphic manipulation of a man's genitalia by a woman. The festival, which had a long standing policy of not showing any movie that had been cut for censorship, would appeal the decision on behalf of the filmmakers. The Review Board denied the appeal, and the festival left the decision of whether to cut the two offending scenes to Borden. Of all the things I've researched about the film, one of the few things I could not find was whether or not Borden made the trims, but the film would play at the festival as scheduled.   After Toronto, Borden would field some offers from some of the smaller art house distributors, but none of the bigger independents or studio-affiliated “classics” divisions. For many, it was too sexual to be a straight art house film, while it wasn't graphic enough to be porn. The one person who did seem to best understand what Borden was going for was, no surprise in hindsight, Harvey Weinstein. Miramax would pick the film up for distribution in late 1986, and planned a February 1987 release.   What might be surprising to most who know about Harvey Weinstein, who would pick up the derisive nickname Harvey Scissorhands in a few years for his constant meddling in already completed films, actually suggested Borden add back in a few minutes of footage to balance out the sex with some lighter non-sex scenes. She would, along with making some last minute dialogue changes, before the film opened on February 5th, not in New York City or Los Angeles, the traditional launching pads for art house films, but at the Opera Plaza Cinema in San Francisco, where the film would do a decent $8k in its first three days.   Three weeks after opening at the Opera Plaza, Miramax would open the film at the 57th Street Playhouse in midtown Manhattan. Buoyed by some amazing reviews from the likes of Siskel and Ebert, Vincent Canby of the New York Times, and J. Hoberman of The Village Voice, Working Girls would gross an astounding $42k during its opening weekend. Two weeks later, it would open at the Samuel Goldwyn Westside Pavilion Cinemas, where it would bring in $17k its first weekend. It would continue to perform well in its major market exclusive runs. An ad in the April 8th, 1987 issue of Variety shows a new house record of $13,492 in its first week at the Ellis Cinema in Atlanta. $140k after five weeks in New York. $40k after three weeks at the Nickelodeon in Boston. $30k after three weeks at the Fine Arts in Chicago. $10k in its first week at the Guild in San Diego. $11k in just three days at the TLA in Philly.   Now, there's different numbers floating around about how much Working Girls made during its total theatrical run. Box Office Mojo says $1.77m, which is really good for a low budget independent film with no stars and featuring a subject still taboo to many in American today, let alone 37 years ago, but a late June 1987 issue of Billboard Magazine about some of the early film successes of the year, puts the gross for Working Girls at $3m.   If you want to check out Working Girls, the Criterion Collection put out an exceptional DVD and Blu-ray release in 2021, which includes a brand new 4K transfer of the film, and a commentary track featuring Borden, cinematographer Judy Irola, and actress Amanda Goodwin, amongst many bonus features. Highly recommended.   I've already spoken some about their next film, Ghost Fever, on our episode last year about the fake movie director Alan Smithee and all of his bad movies. For those who haven't listened to that episode yet and are unaware of who Alan Smithee wasn't, Alan Smithee was a pseudonym created by the Directors Guild in the late 1960s who could be assigned the directing credit of a movie whose real director felt the final cut of the film did not represent his or her vision. By the time Ghost Fever came around in 1987, it would be the 12th movie to be credited to Alan Smithee.   If you have listened to the Alan Smithee episode, you can go ahead and skip forward a couple minutes, but be forewarned, I am going to be offering up a different elaboration on the film than I did on that episode.   And away we go…   Those of us born in the 1960s and before remember a show called All in the Family, and we remember Archie Bunker's neighbors, George and Louise Jefferson, who were eventually spun off onto their own hit show, The Jeffersons. Sherman Hemsley played George Jefferson on All in the Family and The Jeffersons for 12 years, but despite the show being a hit for a number of years, placing as high as #3 during the 1981-1982 television season, roles for Hemsley and his co-star Isabel Sanford outside the show were few and far between. During the eleven seasons The Jeffersons ran on television, from 1975 to 1985, Sherman Hemsley would only make one movie, 1979's Love at First Bite, where he played a small role as a reverend. He appeared on the poster, but his name was not listed amongst the other actors on the poster.   So when the producers of the then-titled Benny and Beaufor approached Hemsley in the spring of 1984 to play one of the title roles, he was more than happy to accept. The Jeffersons was about to start its summer hiatus, and here was the chance to not only make a movie but to be the number one listed actor on the call sheet. He might not ever get that chance again.   The film, by now titled Benny and Buford Meet the Bigoted Ghost, would shoot in Mexico City at Estudios America in the summer of 1984, before Hemsley was due back in Los Angeles to shoot the eleventh and what would be the final season of his show. But it would not be a normal shoot. In fact, there would be two different versions of the movie shot back to back. One, in English, would be directed by Lee Madden, which would hinge its comedy on the bumbling antics of its Black police officer, Buford, and his Hispanic partner, Benny. The other version would be shot in Spanish by Mexican director Miguel Rico, where the comedy would satirize class and social differences rather than racial differences. Hemsley would speak his lines in English, and would be dubbed by a Spanish-speaking actor in post production. Luis Ávalos, best known as Doctor Doolots on the PBS children's show The Electric Company, would play Benny. The only other name in the cast was boxing legend Smokin' Joe Frazier, who was making his proper acting debut on the film as, not too surprisingly, a boxer.   The film would have a four week shooting schedule, and Hemsley was back to work on The Jeffersons on time. Madden would get the film edited together rather quick, and the producers would have a screening for potential distributors in early October.   The screening did not go well.   Madden would be fired from the production, the script rewritten, and a new director named Herbert Strock would be hired to shoot more footage once Hemsley was done with his commitments to The Jeffersons in the spring of 1985. This is when Madden contacted the Directors Guild to request the Smithee pseudonym. But since the film was still in production, the DGA could not issue a judgment until the producers provided the Guild with a completed copy of the film.   That would happen in the late fall of 1985, and Madden was able to successfully show that he had directly a majority of the completed film but it did not represent his vision.   The film was not good, but Miramax still needed product to fill their distribution pipeline. They announced in mid-March of 1987 that they had acquired the film for distribution, and that the film would be opening in Atlanta, Dallas, Houston, Miami, Nashville, St. Louis, and Tampa-St. Petersburg FL the following week.    Miramax did not release how many theatres the film was playing in in those markets, and the only market Variety did track of those that week was St. Louis, where the film did $7k from the four theatres they were tracking that week. Best as I can tell from limited newspaper archives of the day, Ghost Fever played on nine screens in Atlanta, 4 in Dallas/Fort Worth, 25 screens in Miami, and 12 in Tampa-St. Pete on top of the four I can find in St. Louis. By the following week, every theatre that was playing Ghost Fever had dropped it.   The film would not open in any other markets until it opened on 16 screens in the greater Los Angeles metro region on September 11th. No theatres in Hollywood. No theatres in Westwood. No theatres in Beverly Hills or Santa Monica or any major theatre around, outside of the Palace Theatre downtown, a once stately theatre that had fallen into disrepair over the previous three decades. Once again, Miramax didn't release grosses for the run, none of the theatres playing the film were tracked by Variety that week, and all the playdates were gone after one week.   Today, you can find two slightly different copies of the film on a very popular video sharing website, one the theatrical cut, the other the home video cut. The home video cut is preceded by a quick history of the film, including a tidbit that Hemsley bankrolled $3m of the production himself, and that the film's failure almost made him bankrupt. I could not find any source to verify this, but there is possibly specious evidence to back up this claim. The producers of the film were able to make back the budget selling the film to home video company and cable movie channels around the world, and Hemsley would sue them in December 1987 for $3m claiming he was owed this amount from the profits and interest. It would take nine years to work its way through the court system, but a jury in March 1996 would award Hemsley $2.8m. The producers appealed, and an appellate court would uphold the verdict in April 1998.   One of the biggest indie film success stories of 1987 was Patricia Rozema's I've Heard the Mermaids Singing.   In the early 1980s, Rozema was working as an assistant producer on a Canadian Broadcasting Corporation current affairs television show called The Journal. Although she enjoyed her work, she, like many of us, wanted to be a filmmaker. While working on The Journal, she started to write screenplays while taking a classes at a Toronto Polytechnic Institute on 16mm film production.   Now, one of the nicer things about the Canadian film industry is that there are a number of government-funded arts councils that help young independent Canadian filmmakers get their low budget films financed. But Rozema was having trouble getting her earliest ideas funded. Finally, in 1984, she was able to secure funding for Passion, a short film she had written about a documentary filmmaker who writes an extremely intimate letter to an unknown lover. Linda Griffiths, the star of John Sayles' 1983 film Lianna, plays the filmmaker, and Passion would go on to be nominated for Gold Hugo for Best Short Film at the 1985 Chicago Film Festival.   However, a negative review of the short film in The Globe and Mail, often called Canada's Newspaper of Record, would anger Rozema, and she would use that anger to write a new script, Polly, which would be a polemic against the Toronto elitist high art milieu and its merciless negative judgements towards newer artists. Polly, the lead character and narrator of the film, lives alone, has no friends, rides her bike around Toronto to take photographs of whatever strikes her fancy, and regularly indulges herself in whimsical fantasies. An employee for a temporary secretarial agency, Polly gets placed in a private art gallery. The gallery owner is having an off-again, on-again relationship with one her clients, a painter who has misgivings she is too young for the gallery owner and the owner too old for her.    Inspired by the young painter, Polly anonymously submits some of her photographs to the gallery, in the hopes of getting featured, but becomes depressed when the gallery owner, who does not know who took the photos, dismisses them in front of Polly, calling them “simple minded.” Polly quits the gallery and retreats to her apartment. When the painter sees the photographs, she presents herself as the photographer of them, and the pair start to pass them off as the younger artist's work, even after the gallery owner learns they are not of the painter's work. When Polly finds out about the fraud, she confronts the gallery owner, eventually throwing a cup of tea at the owner.   Soon thereafter, the gallery owner and the painter go to check up on Polly at her flat, where they discover more photos undeniable beauty, and the story ends with the three women in one of Polly's fantasies.   Rozema would work on the screenplay for Polly while she was working as a third assistant director on David Cronenberg's The Fly. During the writing process, which took about a year, Rozema would change the title from Polly to Polly's Progress to Polly's Interior Mind. When she would submit the script in June 1986 to the various Canadian arts foundations for funding, it would sent out with yet another new title, Oh, The Things I've Seen.   The first agency to come aboard the film was the Ontario Film Development Corporation, and soon thereafter, the National Film Board of Canada, the Ontario Arts Council, and the Canada Council would also join the funding operation, but the one council they desperately needed to fund the gap was Telefilm Canada, the Canadian government's principal instrument for supporting Canada's audiovisual industry. Telefilm Canada, at the time, had a reputation for being philosophically averse to low-budget, auteur-driven films, a point driven home directly by the administrator of the group at the time, who reportedly stomped out of a meeting concerning the making of this very film, purportedly declaring that Telefilm should not be financing these kind of minimalist, student films. Telefilm would reverse course when Rozema and her producer, Alexandra Raffé, agreed to bring on Don Haig, called “The Godfather of Canadian Cinema,” as an executive producer.   Side note: several months after the film completed shooting, Haig would win an Academy Award for producing a documentary about musician Artie Shaw.   Once they had their $350k budget, Rozema and Raffé got to work on pre-production. Money was tight on such an ambitious first feature. They had only $500 to help their casting agent identify potential actors for the film, although most of the cast would come from Rozema's friendships with them. They would cast thirty-year-old Sheila McCarthy, a first time film actress with only one television credit to her name, as Polly.   Shooting would begin in Toronto on September 24th, 1986 and go for four weeks, shooting completely in 16mm because they could not afford to shoot on 35mm. Once filming was completed, the National Film Board of Canada allowed Rozema use of their editing studio for free. When Rozema struggled with editing the film, the Film Board offered to pay for the consulting services of Ron Sanders, who had edited five of David Cronenberg's movies, including Scanners, Videodrome and The Fly, which Rozema gladly accepted.   After New Years 1987, Rozema has a rough cut of the film ready to show the various funding agencies. That edit of the film was only 65 minutes long, but went over very well with the viewers. So much so that the President of Cinephile Films, the Canadian movie distributor who also helped to fund the film, suggested that Rozema not only add another 15mins or so to the film wherever she could, but submit the film to the be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema still needed to add that requested footage in, and finish the sound mix, but she agreed as long as she was able to complete the film by the time the Cannes programmers met in mid-March. She wouldn't quite make her self-imposed deadline, but the film would get selected for Cannes anyway. This time, she had an absolute deadline. The film had to be completed in time for Cannes.   Which would include needing to make a 35mm blow up of the 16mm print, and the production didn't have the money. Rozema and Raffé asked Telefilm Canada if they could have $40k for the print, but they were turned down.   Twice.   Someone suggested they speak with the foreign sales agent who acquired the rights to sell the film at Cannes. The sales agent not only agreed to the fund the cost from sales of the film to various territories that would be returned to the the various arts councils, but he would also create a press kit, translate the English-language script into French, make sure the print showing at Cannes would have French subtitles, and create the key art for the posters and other ads. Rozema would actually help to create the key art, a picture of Sheila McCarthy's head floating over a body of water, an image that approximately 80% of all buyers would use for their own posters and ads around the world.   By the time the film premiered in Cannes on May 10th, 1987, Rozema had changed the title once again, to I've Heard the Mermaids Singing. The title would be taken from a line in the T.S. Eliot poem The Love Song of J. Alfred Prufrock, which she felt best represented the film.   But whatever it was titled, the two thousand people inside the theatre were mesmerized, and gave the film a six minute standing ovation. The festival quickly added four more screenings of the film, all of which sold out.   While a number of territories around the world had purchased the film before the premiere, the filmmakers bet big on themselves by waiting until after the world premiere to entertain offers from American distributors. Following the premiere, a number of companies made offers for the film. Miramax would be the highest, at $100,000, but the filmmakers said “no.” They kept the bidding going, until they got Miramax up to $350k, the full budget for the film. By the time the festival was done, the sales agent had booked more than $1.1m worth of sales. The film had earned back more than triple its cost before it ever opened on a single commercial screen.   Oh, and it also won Rozema the Prix de la Jeunesse (Pree do la Jza-naise), the Prize of the Youth, from the Directors Fortnight judges.   Miramax would schedule I've Heard the Mermaids Singing to open at the 68th Street Playhouse in New York City on September 11th, after screening at the Toronto Film Festival, then called The Festival of Festivals, the night before, and at the Telluride Film Festival the previous week. Miramax was so keen on the potential success of the film that they would buy their first ever full page newspaper, in the Sunday, September 6th New York Times Arts and Leisure section, which cost them $25k.   The critical and audience reactions in Toronto and Telluride matched the enthusiasm on the Croisette, which would translate to big box office its opening weekend. $40k, the best single screen gross in all Manhattan. While it would lose that crown to My Life as a Dog the following week, its $32k second weekend gross was still one of the best in the city. After three weekends in New York City, the film would have already grossed $100k. That weekend, the film would open at the Samuel Goldwyn West Pavilion Cinemas, where a $9,500 opening weekend gross was considered nice. Good word of mouth kept the grosses respectable for months, and after eight months in theatres, never playing in more than 27 theatres in any given week, the film would gross $1.4m in American theatres.   Ironically, the film did not go over as well in Rozema's home country, where it grossed a little less than half a million Canadian dollars, and didn't even play in the director's hometown due to a lack of theatres that were willing to play a “queer” movie, but once all was said and done, I've Heard the Mermaids Singing would end up with a worldwide gross of more than CAD$10m, a nearly 2500% return on the initial investment. Not only would part of those profits go back to the arts councils that helped fund the film, those profits would help fund the next group of independent Canadian filmmakers. And the film would become one of a growing number of films with LGBTQ lead characters whose success would break down the barriers some exhibitors had about playing non-straight movies.   The impact of this film on queer cinema and on Canadian cinema cannot be understated. In 1993, author Michael Posner spent the first twenty pages of his 250 plus page book Canadian Dreams discussing the history of the film, under the subtitle “The Little Film That Did.” And in 2014, author Julia Mendenhall wrote a 160 page book about the movie, with the subtitle “A Queer Film Classic.” You can find copies of both books on a popular web archive website, if you want to learn more.   Amazingly, for a company that would regularly take up to fourteen months between releases, Miramax would end 1987 with not one, not two, but three new titles in just the last six weeks of the year. Well, one that I can definitely place in theatres.   And here is where you just can't always trust the IMDb or Wikipedia by themselves.   The first alleged release of the three according to both sources, Riders on the Storm, was a wacky comedy featuring Dennis Hopper and Michael J. Polland, and supposedly opened in theatres on November 13th. Except it didn't. It did open in new York City on May 7th, 1988, in Los Angeles the following Friday. But we'll talk more about that movie on our next episode.   The second film of the alleged trifecta was Crazy Moon, a romantic comedy/drama from Canada that featured Keifer Sutherland as Brooks, a young man who finds love with Anne, a deaf girl working at a clothing store where Brooks and his brother are trying to steal a mannequin. Like I've Heard the Mermaids Singing, Crazy Moon would benefit from the support of several Canadian arts foundations including Telefilm Canada and the National Film Board of Canada.   In an unusual move, Miramax would release Crazy Moon on 18 screens in Los Angeles on December 11th, as part of an Oscar qualifying run. I say “unusual” because although in the 1980s, a movie that wanted to qualify for awards consideration had to play in at least one commercial movie theatre in Los Angeles for seven consecutive days before the end of the year, most distributors did just that: one movie theatre. They normally didn't do 18 screens including cities like Long Beach, Irvine and Upland.   It would, however, definitely be a one week run.   Despite a number of decent reviews, Los Angeles audiences were too busy doing plenty of other things to see Crazy Moon. Miramax, once again, didn't report grosses, but six of the eighteen theatres playing the film were being tracked by Variety, and the combined gross for those six theatres was $2,500.   It would not get any award nominations, and it would never open at another movie theatre.   The third film allegedly released by Miramax during the 1987 holiday season, The Magic Snowman, has a reported theatrical release date of December 22, 1987, according to the IMDb, which is also the date listed on the Wikipedia page for the list of movies Miramax released in the 1980s. I suspect this is a direct to video release for several reasons, the two most important ones being that December 22nd was a Tuesday, and back in the 1980s, most home video titles came out on Tuesdays, and that I cannot find a single playdate anywhere in the country around this date, even in the Weinstein's home town of Buffalo. In fact, the only mention of the words “magic snowman” together I can find for all of 1987 is a live performance of a show called The Magic Snowman in Peterborough, England in November 1987.   So now we are eight years into the history of Miramax, and they are starting to pick up some steam. Granted, Working Girls and I've Heard the Mermaids Singing wasn't going to get the company a major line of credit to start making films of their own, but it would help them with visibility amongst the independent and global film communities. These guys can open your films in America.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1988.   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.

durée : 00:13:38 - Superfail - par : Guillaume Erner - C'est un réalisateur qui a deux singularités : il est prolifique et.... il n'existe pas : Alan Smithee, c'est un pseudonyme utilisé depuis les années 60 par des dizaines de réalisateurs américains qui ont décidé de renier leurs films. - invités : Antoine Guillot Journaliste, critique de cinéma et de bandes dessinées, producteur de l'émission "Plan large" sur France Culture

Smithee est le pire réalisateur de l'histoire du cinéma. Pourtant, il a réalisé plus d'une centaine de films et certains avec des stars comme Jodie Foster, Anthony Hopkins ou Sylvester Stallone. Comment a-t-il pu en tourner autant s'il est si mauvais ? Découvrez la page Facebook Officielle des "Grosses Têtes" : https://www.facebook.com/lesgrossestetesrtl/ Retrouvez vos "Grosses Têtes" sur Instagram : https://bit.ly/2hSBiAo Découvrez le compte Twitter Officiel des "Grosses Têtes" : https://bit.ly/2PXSkkz Toutes les vidéos des "Grosses Têtes" sont sur YouTube : https://bit.ly/2DdUyGg

The news of Texas covered today includes:Our Lone Star story of the day: Understand this: My primary objections to the use of, and vote for, impeachment of Mr. Paxton by members of the Texas House stand fully without respect to the person involved. In other words, on the face of it this process, this use of the power of impeachment is wrong for many reasons no matter whether Paxton is guilty of things alleged, or not, or whether it was someone else like former Democrat attorneys general Dan Morales or Jim Mattox.I address a small part of my arguments on today on the show. One of the most important, aside from the terrible tool for a House Speaker to coerce legislators and state officials this precedent sets, is the lack of “inherency” to the argument made by those show spoke for impeachment in the House.In debate, we define the stock, or fundamental, issue of inherency as: Is there a law, statute, or barrier that prevents the status quo from achieving the affirmative's goal.What that means in this case is that to support even the roll out of the impeachment process, it needs be demonstrated that no other part of our existing systems (the status quo) are able to achieve the goal of “protecting the state” from Mr. Paxton. Yet no one has even bothered to put forward the argument that law enforcement, whether state or federal, is being prevented from investigating allegations against Paxton. And remember, despite the moniker “state's chief law enforcement officer,” the attorney general does not actually run or control the state's major law enforcement bodies.Both of the last two Democrat Texas Attorneys General, Mattox and Morales faced criminal charges with Morales pleading guilty and Mattox being acquitted after a long jury trial, demonstrating that there is no fundamental reason that the standard law enforcement and court process should not be allowed to run its course with Mr. Paxton. (Unless of course that reason is purely political vendetta and you don't think there is actually enough evidence for Paxton to be convicted of a serious crime.)From the rushed, stacked-deck House debate on impeachment Saturday as reported in The Texan:Responding to questions from Rep. Matt Schaefer (R-Tyler), Murr agreed that witnesses were not placed under oath and were not cross-examined by members of the committee.Rep. John Smithee (R-Amarillo) opposed the impeachment resolution on the grounds that he believes the process was flawed and the evidence is not enough, a theme throughout.“I'm not here to defend Ken Paxton. That's not my job, I'll leave that to someone else,” Smithee said.Smithee asserted the evidence presented to members was “hearsay within hearsay within hearsay” and would not be admissible in any court of law.“We do not need to be relaxing the fairness and due process concerns,” Smithee said, discussing the precedent the House set with an “indefensible” process.Smithee said the chamber was considering impeachment in the “worst possible way.”“What you're being asked to do is to impeach without evidence. It is all rumor, it is all innuendo, it is all speculation,” Smithee said. …Rep. Tony Tinderholt (R-Arlington) pointed out that all of the investigators that testified before the committee were former Harris County employees and nearly all of them vote in Democratic primaries. Murr suggested he was uninterested in the political leanings of the investigators when considering the articles of impeachment.“This body gave more time to debating tampon tax relief than we've given to impeaching the chief law enforcement officer in our state,” Tinderholt said.Tinderholt said he was “sorry” Republicans in the House are “being used” to cram through an impeachment against a popular GOP official. He said it is “imprudent at best and gross abuse of power at worst.”Rep. Brian Harrison (R-Waxahachie) spoke against impeachment, saying the allegations should be “left to the courts and to the voters.”The only Democrat to come to Paxton's mild defense on the floor was Rep. Harold Dutton (D-Houston), who said he does not believe Paxton's due process rights have been respected.“I don't have enough evidence that (Paxton) did anything,” Dutton said.Dutton expressed concern that the chamber was asked to vote on the impeachment articles virtually in the “dead of night.”Our Lone Star story of the day is sponsored by Allied Compliance Services providing the best service in DOT, business and personal drug and alcohol testing since 1995.Legislature: Members had time to do secret pseudo-investigations, attend untold number of lobbyist paid events, get drunk (Speaker Phelan it appears and many others for sure,) and more, but they didn't have time to get to 4 of the 7 “emergency items” put on the agenda including property tax relief during their 140-day regular session.As a consequence, Governor Abbott has called them back into Special Session immediatelywith tax relief and border security as the call for this first special. Abbott promises more with limited items each time on the agenda to force legislators to focus on the peoples' business.Texas manufacturing sector continues to decline – see the latest Dallas Fed report.And, other news of Texas.Listen on the radio, or station stream, at 5pm Central. Click for our radio and streaming affiliates.www.PrattonTexas.com

Smithee est le pire réalisateur de l'histoire du cinéma. Pourtant, il a réalisé plus d'une centaine de films et certains avec des stars comme Jodie Foster, Anthony Hopkins ou Sylvester Stallone. Comment a-t-il pu en tourner autant s'il est si mauvais ? Dans "Ah Ouais ?", Florian Gazan répond en une minute chrono à toutes les questions essentielles, existentielles, parfois complètement absurdes, qui vous traversent la tête. Un podcast RTL Originals.

This week Invasion of the Remake spotlights one of the most prolific film makers of any generation, writer, director, cinematographer, actor, producer, and living legend, Alan Smithee! The Invaders watched several of Smithee's films and review them along with a look at the highs and lows of the life and times of Alan Smithee. Films featured on this weeks episode: Student Bodies (1981), Hellraiser: Bloodline (1996), A River Made to Drown In (1997), Morgan Stewart's Coming Home (1987), Appointment With Fear (1985), Stitches (1985), Gypsy Angels (1990), The Shrimp on the Barbie (1990), Maniac Cop 3: Badge of Silence (1992), House 3: The Horror Show (1989), Death of a Gunfighter (1969), and Solar Crisis (1990). Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Spotify, Google Podcasts, Stitcher, PlayerFM, Tune In Radio, PodChaser, Amazon Music, Audible, Libsyn, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes / Apple Podcasts. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. https://invasionoftheremake.wixsite.com/podcast Follow us on Twitter: @InvasionRemake Like and share us on Facebook, Instagram & Tik-Tok: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com Buy a cool t-shirt, PPE masks and other Invasion of the Remake swag at our TeePublic Store!

01.25.2023 | Right Here, Right Now | Part 2 | Pastor Cory Smithee

01.18.2023 | Right Here, Right Now | Pastor Cory Smithee

A small preview of what you're missing if you're not signed up for the Patreon feed.Want more Force Five? Want Top 5 drafts, the ability to assign me a film to review, and the opportunity to become a producer on the show? Head to www.patreon.com/forcefive to join for as little as $2 a month.

10.26.2022 | Nehemiah Part 4 | Pinned Truth | Pastor Cory Smithee

10.19.2022 | Nehemiah Part 3: Rise and Build | Pastor Cory Smithee

10.12.2022 | Guest Speaker: Nehemiah | Part 2: Gatekeepers |Pastor Cory Smithee

09.28.2022 | Nehemiah - Spiritual Walls | Pastor Cory Smithee

The guys are back with yet another Allen Smithee movie review.  This is chock full of spoilers and shit talking, just as it should be.  So, sit back, relax, and enjoy the mockery as Talk Stupid 2 Me roasts 1995's Smoke N' Lightnin.Support the show (https://www.patreon.com/talkstupid2me)

In this episode, I share my interview with Benjamin Smithee, CEO of The Smithee Group, a digital growth agency that's been empowering entrepreneurs and businesses to dream bigger and achieve multi-generational integrity since 2015. He's consulted some of the largest and most well-known companies around the globe including Coca-Cola, McDonald's, Comcast, Disney, and hundreds of small businesses. I first met Ben at this year's JCK Las Vegas, but his glowing reputation definitely preceded him. Listen to this interview all about digital marketing opportunities and trends for 2022.

The Allen Smithee Collection returns, as TS2M continues the Halloween season with another movie review.  This is the fourth installment in the Hellraiser series, and after this episode, you'll know why nobody wanted their name on this.Support the show (https://www.patreon.com/talkstupid2me)

Punchmark and The Smithee Group recently traveled to Las Vegas for JCK, the largest jewelry show in North America. While there, we attended the inaugural year of the JCK Podcast Zone, and recorded a few conversations on the future of the jewelry industry. The first was with Denise Purtzer from ClearSale about the state of online fraud and how to prevent it, as well as some of the most common techniques fraudsters employ. The second was with Emmae and Matt from The Smithee Group to talk about their booth at JCK which aims to educate jewelers about the future of technology, as well as potential e-commerce and shopping uses for them. These were recorded live at the JCK show, and some of the audio has more background noise than we typically permit. We appreciate your understanding!

You've heard from Mike, Evelyn, Cody, Ross, Ben, and others; now it's finally time to get to know your favorite cast of In the Loupe on a deeper level. This episode will dive into a perhaps surprising topic (but then again, we don't really pull punches when it comes to divulging our company secrets on this podcast!). Take a look into the leadership at both Punchmark and The Smithee Group and see how we run our companies, when leadership roles might shift depending on the topics, and why our 20-something-year-old employees are able to contribute equally to our more senior company members. We hope you'll take some ideas from this episode on how to use the unique skills of different generations to your advantage and what makes good leaders.

Self-described "HR Ninja" Kelly Smithee is an introvert who takes active interactions with her employees, volunteers with SHRM, and puts herself out there in her Jazzercise business - all in her sassy pants. Learn how she discovered HR by growing up with a father in HR. Find out how she found a passion in helping other get in shape, and discover the power of pivot tables in Excel. Kelly claims to be the most inappropriate person in the room yet when you get to know her you realize she wants to be the person who helps others and has shown that through her actions. Listen and develop a smile from her stories. You might not be able to see the sparkly background behind her but you can hear it's there. Links to items mentioned in the podcast. Smith Robert Baldischwiler University of Oklahoma Jazzercise Excel AMC Movie Theatres Facebook of Introvert Kelly Smithee publicly dancing. WOKHR Ted Lasso Evil TV Show Intelligence Southern Charm TV Harry Potter Collection

The founder of Solar Solutions, Kiara Smithee, joins Dylan Welch on The Green Podcast. In this episode, Kiara shares her background in renewable energy, cleantech, and her vision for building a company that gives back and creates jobs for other ambitious leaders in the solar industry.www.mysolarsolutions.coSupport the show (http://www.GoingGreenShow.com)

In this week's episode the guys talk about an infamous Hollywood director that goes by the name of Al Smith, no... Allen Smithe, no, Smithee! Allen Smithee is credited as having directed several Hollywood movies, including 1990's The Shrimp on The Barbie, starring Cheech Marin.  Support the show (https://www.patreon.com/talkstupid2me)

Ben Smithee In this episode, I speak with good mate, Entrepreneur and CEO of the Smithee Group, Ben Smithee. We discuss the ideas around calling, vocation, creativity, and mentoring. Ben is based in New York City and married to Nicole. Ben's firm, The Smithee Group, seeks ‘to inspire and encourage people to create generational success'. Ben's personal vision is framed around three key insights: Honor God; Serve people; and Steward capital. Shaped around three realities Ben seeks to cultivate intentional spaces that recognize that healthy things grow, and growing things change. This conversation is a true joy that brings good thinking, hope, creativity and life to the ideas and practices of vocation, leadership, stewardship, and faith. Ben is CEO of The Smithee Group (TSG), a Digital Growth Agency that offers a full suite of digital marketing and media solutions that leverages their extensive expertise in research and analytics. TSG's mission is to empower entrepreneurs and businesses to dream bigger and achieve multi-generational integrity. His experience ranges from global brands such as McDonalds, General Mills, Coca- Cola, EA Games, Cox Automotive and Signet, to startups and scale-ups looking to utilize digital and see true performance results. Along with his role as an Advisor to the Black in Jewelry Coalition, Ben currently sits on the Board of Directors for the Women's Jewelry Association, Big Brothers Big Sisters, as well as Gem Legacy, which supports the artisanal mining communities in East Africa with education, training, childcare, healthcare, and business opportunities. When not in the business and non-profit worlds, you can find Ben on the track racing cars, on the mountain snowboarding, or on the links playing golf.   I hope you enjoy this conversation.

119 ALLAN SMITHEE!The BoneBat podcast takes offense to Kelly (get in line) and his thoughts on Godzilla vs King Kong. Other films discussed: Warning Do Not Play, Fried Barry, Benny Loves You, Invincible.Support the show (https://www.buymeacoffee.com/strangeaeonsr)

Do you want to grow your business or career but hate the idea of selling yourself, your products or your services? In this episode Ben Smithee, CEO of the Smithee Group, shares a proven process for sales so you can successfully grow your business, ace the interview, or simply communicate with more authority and persuasiveness. By the end of this episode you’ll have the tools to sell yourself, your products and your services with more confidence.

That's a wrap! Season 1 of the 'In the Loupe' podcast is coming to a close and we're looking back on some of the top moments from the season and answering your questions. We'll also give a teaser on what's to come in the next season, which you don't want to miss!

The Return of Rollerskating!  The Morning Moo!  Smithee's Biscuit Review  Don't Get Megan Started!  Helen Clark  Fact of the Day Day Day Day Daaaay!  When did Someone Sabotage your Diet?  

These are dark times. Corey and Maddy have dived into the pits of depravity that horror has to offer, films so heinous that they were callously disowned by the monsters who created them. This week we discuss 'Bloodsucking Pharaohs in Pittsburgh' and 'Raging Angels'

This show's filling between the sci-fi bread is the winner of the listener's vote poll; Martin Scorsese's After Hours. One man's descent into a night of mares and a great way to finish the vote.The upper slice of bread is Konstantin Lopushansky's post-apocalyptic A Visitor to the Museum - a Soviet metaphysical musing upon some of the big questions in life, but does it have any answers?Completing this delicious sandwich of cinema we brave the Alan Smithee cut of Dune with a 10 minute prologue and 30 mins of extra footage, does Smithee's cut attempt to fill in the gaps that Lynch deigned to leave out?

Welcome back, the TWGTF boys are going underground and are going to be talking about the most mysterious of directors, one Mr. Allan Smithee. The first movie is the 1969, and the first of Smithee's films, Death of a Gunfighter. The second (and third) film are Smithee's Catchfire and Denis Hopper's Backtrack. The boys have two different talks about two (three) films that are very different.  Spoiler: Catchfire/Backtrack is supposed to take place in San Francisco. What Tyler Watched: Will Success Spoil Rock Hunter? What Ben Watched: Carnival of Souls 00:00-04:44: Intro 04:45-21:36: Best Thing We Watched this Week 21:37-25:22: A brief history of Allan Smithee/Death of a Gunfighter intro 25:23-28:48: “Come in...” 28:49-56:51: Death of A Gunfighter discussion 56:52-58:12: Catchfire/Backtrack Intro 58:13-59:56: “You gotta view/you got the bay...” 59:57-1:37:36: Catchfire/Backtrack discussion 1:37:38-1:53:02: Coming Attractions/Outro

Ben Smithee is the CEO of The Smithee Group, a digital marketing agency based in New York City. On this episode, he sits with Sima Vasa to talk about what they do, how they do it, and how millennial research has affected the marketing sphere. “I think there’s a new shift… marketing in the moment […] The post Agile Research with Ben Smithee | Ep. 101 appeared first on Infinity Squared, LLC.

Ben Smithee is the CEO of The Smithee Group, a digital marketing agency based in New York City. On this episode, he sits with Sima Vasa to talk about what they do, how they do it, and how millennial research has affected the marketing sphere. “I think there’s a new shift… marketing in the moment and not for the moment.” - Ben Smithee Ben Smithee - The Smithee Group’s Pedigree His full-service digital marketing agency focuses a lot on small-medium businesses but still serve large enterprise companies with intelligence and insights work. They work with luxury brands—the jewelry industry—, which as Ben says, is every marketer’s dream. Their background is founded on research and analytics. With this history, they are able to take their learnings and understanding of how consumer behavior works and apply them in what they do. Research-based Execution Ben started his company with a big emphasis on execution and not just research. Of course, the two should go together. Effective decisions are made based on facts and figures instead of gut instinct and sometimes, politics. “I would suggest any marketer… start in research because the fundamentals in learning: consumer insights, consumer behavior, solid research skills… it makes you so much more effective and efficient as a marketer.” - Ben Smithee Assessments: Crux of Marketing All of The Smithee Group’s endeavors begin with digital brand assessment. Before they launch any marketing campaign, they must first look at where the brand is and where it could potentially be. This also comes with understanding audience segmentation. Back in the day, these assessments entail diving into and tweaking things targeting focus groups. But at present, marketers can run these tests and repeat and learn from them live on the field. This shift has come from knowing customer behavior and having the background necessary to make informed decisions. “That's what I'm thankful for some of the background in millennial research which obviously led us to digital… and being that trusted partner.” - Ben Smithee Quick links to connect with Ben Smithee: Website - The Smithee Group Twitter - The Smithee Group Website - Ben Smithee Twitter - Ben Smithee Sima loves to hear from her listeners with input, questions, suggestions and just to connect! You can find her at the links below! LinkedIn Twitter simav.sg-host.com Sima is passionate about data and loves to share, learn and help others that share that passion. If you love data as much as her, subscribe on iTunes and don't forget to leave a rating and review!

Today's featured guest is Connor Smithee. Connor is a current communications studies student at Michigan State University and is from Lowell, Michigan. When Connor is not in the studio, he loves to hang out by the pool and looks forward every summer to head to the beach. Connor is helping his local by partnering up with http://lowellradio.org/ on his Show To The Point with Connor Smithee. He is a Social Media Intern at Lowell Area Chamber of Commerce. Before the pandemic started, Connor is a Lifeguard at Sparrow Michigan Athletic Club. Other roles he has had, Former reporter at Great Lakes Echo and Former Intern at Mix 957. For more information on Connor: Instagram: https://www.instagram.com/connorsmithee/ Facebook: https://www.facebook.com/connor.smithee Twitter: https://twitter.com/connorsmithee Thank you for the music beds in my intro and outro EpidemicSound.com! Leave a review on Apple Podcasts! podcasts.apple.com/us/podcast/keep…-t/id1308643567 https://www.youtube.com/watch?v=OpRGzHvKMhI&feature=youtu.be For Correspondence/Inquiries/Future merchandise Contact me (Thomas) at: thomas@keepingitreel.pro

Un épisode qui déroge à la règle mais en fait pas tant que ça ! Alan Smithee serait le cinéaste le moins talentueux d’Holliwood ! Je m’explique….Nombreux sont les réalisateurs à fuir leurs propres créations en empruntant un pseudonyme. La raison ? Un film malmené, souvent à cause de la pression des producteurs et grands studios, empêchant les cinéastes de garder un contrôle artistique sur leur projet. Parmi les pseudonymes les plus souvent utilisés, on retrouve celui d’Alan Smithee et ses variantes, Alan Smythee, Allen Smithee ou encore Adam Smithee.Jusque dans les années 60, lorsque le tournage, le montage ou l’œuvre dans son ensemble tournait au désastre, le réalisateur était critiqué et quand, au contraire, son travail méritait récompense, c’est entre les mains du producteur que l’on remettait une statuette dorée. Et pour cause, ces derniers avaient tous les droits, le final cut d’un film étant toujours et obligatoirement soumis à leur bonne volonté.C’est en 1955 qu’Alan Smithee fait ses débuts dans l’industrie au générique du téléfilm « The Indiscret Mrs Jarvis ». Derrière cet alias se cache Frank Burt, un réalisateur américain dont le travail avait été réduit à néant par les monteurs et producteurs souhaitant à tout prix faire correspondre le film aux standards télévisuels de l’époque. Il faudra cependant attendre 1969 pour observe r l’ascension d’Alan Smithee. Le projet “une poignée de plomb” porté par Universal change de réalisateur en cours de route, et aucun des deux réalisateurs n’assume l’oeuvre finale. On fait alors appel au syndicat des réalisateurs américains qui trouve le compromis suivant : le film sera signé Alan Smithee.S’il est bien l’anagramme de The Alias Men, différentes histoires entourent la création de ce nom : pour certains, Smithee proviendrait du surnom donné à l’un des noms les plus portés outre-Atlantique, « Smith ».Attention toutefois, tout le monde ne peut pas utiliser le pseudonyme et pour ce faire, une demande doit être formulée auprès du syndicat des réalisateurs américains, accompagnée d’un dossier remplissant le cahier des charges précis, avant d’être analysée par une commission spéciale créée pour l’occasion. Le simple rejet d’une œuvre n’est pas une raison valable et si la demande est acceptée, le réalisateur doit faire profil bas et ne parler sous aucun prétexte des raisons l’ayant poussé à utiliser cet alias.Bien évidemment, de nombreux grands noms du cinéma l’ont déjà utilisé, dont Dennis Hopper, Kiefer Sutherland, David Lynch pour la version télévisée de Dune ou encore Twilight Zone. En 1999 sort un film relatant la carrière de Smithee et exposant la vérité sur ce pseudonyme aux yeux de tous. Coup du sort, le film est un véritable navet et est renié par son auteur qui, cherchant à le faire disparaître, arrivera à obtenir la permission d’utiliser l’alias du syndicat des réalisateurs américains. « An Alan Smithee Film : Burn Hollywood Burn » sera donc signé Alan Smithee. Face aux critiques, le syndicat des réalisateurs américains mettra un terme à l’utilisation de l’alias dans les années 2000. Aujourd’hui, l’alias est toujours utilisé par quelques nostalgiques et on peut le retrouver dans l’industrie musicale, vidéoludique ou littéraire.Avec plus d’une centaine de films à son actif sur plus de 40 ans d’activité, Alan Smithee est l’un des cinéastes les plus productifs du cinéma américain, à défaut d’en être le plus talentueux. Le nom est entré dans l’histoire en permettant aux réalisateurs de faire valoir des droits sur leurs créations et d’obtenir une reconnaissance financière sur des films massacrés par l’industrie. See acast.com/privacy for privacy and opt-out information.

We’re back with another interview from Tucson at the JCK show and continue to delve into the world of career paths within the jewelry world. Behind every brand is a marketing team that helps bring life to its story. We sit down with Ben Smittee, of The Smithee Group, to get to know a little more about him and his passion supporting the future of the jewelry industry. 00:00:00 Worse topic ever 00:29:00 Ben Smithee 01:20:00 What do you do in the industry? 02:57:00 First memory with a piece of jewelry or gemstone 05:50:00 A little background that brought you to support the jewelry industry? 12:45:00 Helping bring out the story that needs to be heard 14:58:00 Women’s Jewelry Association and involvement at the Tucson Gem Fair 15:06:00 What about Gem Legacy made you say “yes” this is soething you want to be a part of? 17:03:00 Gem Legacy providing its way to give back and telling its story. 20:34:00 Educating retail jewelers 22:33:00 Tell me about my twins

What does a director do when the studio screws up his movie? Become invidible, become Alan Smithee.  This week we discuss the long a storied career of Mr. Smithee.  Our fight has the 1% bashing each other and the end of the world is on a galactic scale.  Fear not!  The Samurai Shall protect you!

Phoole is a SPOOKY SCARY SKELETON, just like Uncle Fweddy, except louder! Dr. Logic is Beetlejuice, Pixie is goth-tastic, Smithee’s a pirate, Joe is Tommy Chong, Tifa is Pennywise, Jake is Georgie, and Bunny is a dead bobby-soxer fan of dead Elvis, Jane’s a wolf, Phil’s a unicorn, and Jill’s a dragon! What are YOU dressed as for Phooleoween? The show starts with 30 minutes of more downtempo warmup tunes and after that the 2-hour Phooleoween fun begins! Terrifying tunes, ghoulish guesticles and monstrous mashups ensue plus a first-PATG-play of ‘Grim Grinning Ghosts’ from Ghost Cave! Become a Phoole Patreon Patron! https://patreon.com/phoole www.phoole.com/gang https://twitter.com/phoole https://facebook.com/phooleofficial https://slipmat.io/phoole https://pscp.tv/phoole https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/phooleofficial https://phoole.com/videos

Broadcast 215 is going to be an open show, playing a wide variety of stuff. I hope you enjoy the program. Set 1: Ensemble Al Asdeka, Flute Taqsim remix-Ensemble Al Ernesto Schnack, An Eloquent Goodbye Firesphere, Into My Heart Francois Couture, Stroll (Featuring Evelin Auger and Denis Pouliot) Glen Bledsoe, South Falls Set 2: Acapeldridge, Though Your Sins Be as Scarlet Ariel Rose, Hanukkah's Child Bob Mamet Trio, Danzon Allegretto , 4 Do Not Pass Me By (Prayer of Bartimaeus) Lisa Forget, Blessings of the Season McKenna Morris, Spark NICK BAKER, - FEVER COVER Ensemble Al Asdeka, Dance of the Tamir Agha-Ensemble Al Set 3: R.E.M., New Test Leper Rising Appalachia, Coleman's March Shira Kline, This Little Light of Mine Debbie Friedman, You Are The One VALENTINA MOZA, LIGHT OF THE WORLD Taylor Gayle, Elementary Love Ensemble Al Asdeka, Veil Dance-Ensemble Al Set 4: Various Artists, Halo Tina Malia, Ima Adama Suzanne Pittson, Like a Byrd (Byrd Like) Peter Davidson, Zoom Dub Cousin Silas & Candy L, Dark Canopy Glenn Sogge with Boson Spin, Slumber Number Two Kuutana, Aqua Set 5: Master's Monkeys, Light-years gone Memories of Tomorrow, Night or Day Drop Trio, Smithee's Second Ozzie Cruse, Early Wednesday Afternoon Wavebuffet, Galleta Windpearl, Sad world This completes the show. I hope that you'll enjoy the program on the podcast, and we'll be in touch! Want something aired? Contact me and we'll see what we can do. This is our show, not just mine. Thanks so much for listening whether you listened live, or the podcast/.

The Barb Wire celebrates its tenth episode with a visit from Ben Smithee, CEO at The Smithee Group (thesmitheegroup.com), a digital consultancy whose mission is "helping big brands think small and small brands think bigger".   Talking with host Barbara Palumbo, Ben shares why he decided to originally focus his consultancy on the jewelry business (8:10), and Barbara refers to him as one of the industry's few true "influencers" online (11:10). He talks about his unique upbringing in Dallas as the adopted Asian son of white parents (17:00).   Ben's passionate about social media, calling it "the great equalizer" for small businesses (29:30). And he later shares one of his pet peeves -- retailers who can't stop complaining about the things their customers do (32:50).   He also cites a specific behavior that he believes, if a retailer performs it daily for the next 365 days, will guarantee them a six-figure increase in their sales (36:20). Later, Ben shares the specific sales pitch he uses with jewelers to convince them to invest in building their social media following (40:30).    

Join us as special guest Pastor Cory Smithee brings a Wednesday night teaching titled: The Bridge

Join us as special guest Pastor Cory Smithee brings a Wednesday night teaching titled: The Bridge

Join us as special guest Pastor Cory Smithee brings a Wednesday night teaching titled: The Bridge

My great friends Adrian and Paulo weigh in on plentyyyyyy of things, such as: - the current state of the gaming industry. Microtransactions, Blizzard layoffs -LeBron's legacy -life as a Peruvian immigrant -How to be an effective leader ...and plenty more!

Ben Smithee is the CEO of The Smithee Group, a digital marketing agency based in New York City. On this episode, he sits with Sima Vasa to talk about what they do, how they do it, and how millennial research has affected the marketing sphere. “I think there’s a new shift… marketing in the moment […] The post Ben Smithee – Marketing in the Moment | Ep. 031 appeared first on Infinity Squared, LLC.

Ben Smithee is the CEO of The Smithee Group, a digital marketing agency based in New York City. On this episode, he sits with Sima Vasa to talk about what they do, how they do it, and how millennial research has affected the marketing sphere. “I think there’s a new shift… marketing in the moment and not for the moment.” - Ben Smithee Ben Smithee - The Smithee Group’s Pedigree His full-service digital marketing agency focuses a lot on small-medium businesses but still serve large enterprise companies with intelligence and insights work. They work with luxury brands—the jewelry industry—, which as Ben says, is every marketer’s dream. Their background is founded on research and analytics. With this history, they are able to take their learnings and understanding of how consumer behavior works and apply them in what they do. Research-based Execution Ben started his company with a big emphasis on execution and not just research. Of course, the two should go together. Effective decisions are made based on facts and figures instead of gut instinct and sometimes, politics. “I would suggest any marketer… start in research because the fundamentals in learning: consumer insights, consumer behavior, solid research skills… it makes you so much more effective and efficient as a marketer.” - Ben Smithee Assessments: Crux of Marketing All of The Smithee Group’s endeavors begin with digital brand assessment. Before they launch any marketing campaign, they must first look at where the brand is and where it could potentially be. This also comes with understanding audience segmentation. Back in the day, these assessments entail diving into and tweaking things targeting focus groups. But at present, marketers can run these tests and repeat and learn from them live on the field. This shift has come from knowing customer behavior and having the background necessary to make informed decisions. “That's what I'm thankful for some of the background in millennial research which obviously led us to digital… and being that trusted partner.” - Ben Smithee Quick links to connect with Ben Smithee: Website - The Smithee Group Twitter - The Smithee Group Website - Ben Smithee Twitter - Ben Smithee Sima loves to hear from her listeners with input, questions, suggestions and just to connect! You can find her at the links below! LinkedIn Twitter simav.sg-host.com Sima is passionate about data and loves to share, learn and help others that share that passion. If you love data as much as her, subscribe on iTunes and don't forget to leave a rating and review!

Phoole has a cold and feels wistfully nostalgic about MoFoMas - the holiday in the Phooliverse commemorating 7 February 2014, already four years gone, when she guested on ‘Friday Night Is Young Punx Night' and it changed her LIFE. So the show is sprinkled liberally with tunes from that fateful playlist, along with other earhole treats and a suite of Smithee requests piled at the end. Angelo the Cat sleeps through 1 hour and 40 minutes of the show! SOOTHING BOOMS. We still don't know what to do with a surfeit of booty - we really don't even know what that is. But Phoole knows she's so grateful for every Phooligan in the Gang! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole www.phoole.com/gang https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/phooleofficial

Phoole has a cold and feels wistfully nostalgic about MoFoMas - the holiday in the Phooliverse commemorating 7 February 2014, already four years gone, when she guested on ‘Friday Night Is Young Punx Night’ and it changed her LIFE. So the show is sprinkled liberally with tunes from that fateful playlist, along with other earhole treats and a suite of Smithee requests piled at the end. Angelo the Cat sleeps through 1 hour and 40 minutes of the show! SOOTHING BOOMS. We still don’t know what to do with a surfeit of booty - we really don’t even know what that is. But Phoole knows she’s so grateful for every Phooligan in the Gang! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole www.phoole.com/gang https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/phooleofficial

Phoole has a cold and feels wistfully nostalgic about MoFoMas - the holiday in the Phooliverse commemorating 7 February 2014, already four years gone, when she guested on ‘Friday Night Is Young Punx Night’ and it changed her LIFE. So the show is sprinkled liberally with tunes from that fateful playlist, along with other earhole treats and a suite of Smithee requests piled at the end. Angelo the Cat sleeps through 1 hour and 40 minutes of the show! SOOTHING BOOMS. We still don’t know what to do with a surfeit of booty - we really don’t even know what that is. But Phoole knows she’s so grateful for every Phooligan in the Gang! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole www.phoole.com/gang https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/phooleofficial

The Pitchfork Revolution is happening... And then women take the power back. It's the Poldark Season 3 Finale with lots of action:  Slo Motion Pirates! Elizabeth Straight up Lying! The Vicar and the C-Cup Sister! Captain Big Pants Burns down the House!  Morwenna's Clytemnestra Moment..   And Demelza--  did she or didn't she? That is the question?   lWe take it story by story:   The Smallness of George and Elizabsth's Lie The Sasay Sisters, the Vicar, the Smithee and Morwenna's Vow Viva la Revolution! Ross's Moral dilemma Demelza and Hugh   Subscribe to Satellite Sisters Talk TV on Apple Podcasts here if you want to listen to Lian Dolan and Julie Dolan's TV recaps of CBS drama Madam Secretary and PBS Poldark recap Pol,Dark and Handsome.    To listen to Satellite Sisters Talk TV on Stitcher, click here.    The complete Satellite Sisters Talk TV podcast archive is here.    The complete Satellite Sisters podcast audio archive is here.

200 PHOOLE AND THE GANG shows. Who could have imagined such a craziness four years ago? Smithee and Pixie join the cats Angelo and Tony in the studio and even T stops by for a congratulatory holla, despite being super-tired! All the tunes in the show are Smithee’s Selections, except for a couple of Phoole mandates shoehorned into the mix - so it’s a tour-de-Phoole-Force as the Shadow-Tartan-kilted Smithee relives 200 shows’ worth of favorite tunes along with the entire Phooliverse! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole www.phoole.com/gang https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/phoole

200 PHOOLE AND THE GANG shows. Who could have imagined such a craziness four years ago? Smithee and Pixie join the cats Angelo and Tony in the studio and even T stops by for a congratulatory holla, despite being super-tired! All the tunes in the show are Smithee’s Selections, except for a couple of Phoole mandates shoehorned into the mix - so it’s a tour-de-Phoole-Force as the Shadow-Tartan-kilted Smithee relives 200 shows’ worth of favorite tunes along with the entire Phooliverse! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole www.phoole.com/gang https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/phoole

3-hour pre-show covering for Urban Love Ulcer before the 2-hour PHOOLEOWEEN SPECIAL! #3spoopy5u tunes anticipating the arrival of treasured guesticles including Phoole Patreon Platoon members Gryphon, Scottish Smithee, and Dr. Logic, as well as Federation Commander Reg Barclay, Hipster Lumpy Space Princess, and Princess Bubblegum Football Player! Phoole goes Gryffindor, shows off her Halloween Blow-Mold collection, can’t find her wand, finds her wand, and gets a second wand as a gift from Smithee! Phoole consumes whiskey and tries to DJ anyway. THRILLS AND CHILLS! PHOOLEOWEEEEEEN Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/video

PHOOLEOWEEN SPECIAL! #3spoopy5u tunes, treasured guesticles including Phoole Patreon Platoon members Gryphon, Scottish Smithee, and Dr. Logic, as well as Federation Commander Reg Barclay, Hipster Lumpy Space Princess, and Princess Bubblegum Football Player! Phoole goes Gryffindor, shows off her Halloween Blow-Mold collection, can’t find her wand, finds her wand, and gets a second wand as a gift from Smithee! Phoole consumes whiskey and tries to DJ anyway. THRILLS AND CHILLS! PHOOLEOWEEEEEEN Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/video

PHOOLEOWEEN SPECIAL! #3spoopy5u tunes, treasured guesticles including Phoole Patreon Platoon members Gryphon, Scottish Smithee, and Dr. Logic, as well as Federation Commander Reg Barclay, Hipster Lumpy Space Princess, and Princess Bubblegum Football Player! Phoole goes Gryffindor, shows off her Halloween Blow-Mold collection, can’t find her wand, finds her wand, and gets a second wand as a gift from Smithee! Phoole consumes whiskey and tries to DJ anyway. THRILLS AND CHILLS! PHOOLEOWEEEEEEN Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/video

3-hour pre-show covering for Urban Love Ulcer before the 2-hour PHOOLEOWEEN SPECIAL! #3spoopy5u tunes anticipating the arrival of treasured guesticles including Phoole Patreon Platoon members Gryphon, Scottish Smithee, and Dr. Logic, as well as Federation Commander Reg Barclay, Hipster Lumpy Space Princess, and Princess Bubblegum Football Player! Phoole goes Gryffindor, shows off her Halloween Blow-Mold collection, can’t find her wand, finds her wand, and gets a second wand as a gift from Smithee! Phoole consumes whiskey and tries to DJ anyway. THRILLS AND CHILLS! PHOOLEOWEEEEEEN Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/video

Dave and James indulge in what can only be called one of their more idiosyncratic interests in bad films with this episode, discussing "director" Alan Smithee and the 1998 Joe Eszterhas-penned An Alan Smithee Film: Burn Hollywood Burn. Tune in, there's not a good film in the lot!

Bradley and Karen discuss what plagiarism is (or isn't) and how it interacts with copyleft licenses. Show Notes: Segment 0 (00:00:37) Please donate to to send Dan to a conference. There's a progress bar on faif.us now. You can also donate to support Software Freedom Conservancy, where Bradley and Karen work, by becoming a supporter. Karen mentioned her blog post about the supporter program. (00:08:30) Bradley mentioned his blog post about the supporter program as well. (00:09:30) Segment 1 (00:16:16) Bradley and Karen pick up on a topic original discussed in Segment 1 of FaiF 0x02. (00:16:50) Bradley discussed the Laurie Stearns' article from the California Law Review, entitled Copy Wrong: Plagiarism, Process, Property, and the Law (00:23:50) Bradley mentioned The GNOME Foundation Copyright Assignment Guidelines that he co-authored. (00:28:05) Bradley mentioned the Doris Kearns Goodwin Plagiarism controversy, and how it would have been simply redressed if the material she reused had been copylefted. (00:29:26) Karen mentioned that Flickr made different policies for CC-BY-SA'd works when selling printed versions. (32:30) Bradley mentioned that even software freedom advocates just comply with the copyleft licenses and don't work collaboratively, particularly during hostile forks, using Conservancy's Kallithea project as an example. (00:35:25) Bradley reiterated a point he made in FaiF 0x08, where he discussed that Linus Torvalds switched to GPL for Linux because he realized non-commercial restrictions weren't appropriate. (00:37:50) Bradley mentioned the hostile fork of GCC called egcs. The H-Online years later wrote a long article that discussed the egcs fork egcs fork. (00:39:46) Bradley mentioned that plagiarism is ultimately about attribution, and modern DVCS systems makes attribution easy and renders plagiarism impossible (if DVCS logs are accurate). (00:44:15) Bradley mentioned that he continually has learned the lesson that if you let your employer keep copyright, you lose everything you had when you switch employers (if the work isn't copylefted). (00:47:00) Bradley discussed the methods of attribution required in GPLv3. (00:50:05) Bradley mentioned that copyright notices are the primary method of attribution in copyleft licenses, and even non-copyleft ones too. (00:53:19) Karen discussed the attribution requirements in text of CC-BY-SA 4.0. (00:53:49) Bradley wants to do a whole FaiF show about how CC-BY-SA may not be a true copyleft since it has no source code requirement (00:54:40) Bradley mentioned the “fake name” that film directors use when they wish to disavow a work they aren't happy with. The name is, in fact, Alan Smithee, and indeed the 1984 film Dune lists Smithee as a director even though David Lynch is known publicly to be the director. (00:58:40) Bradley mentioned the unfair accusations against Red Hat when they stopped publishing their internal Linux Git repository and instead released a more standard ChangeLog. (01:05:30) Send feedback and comments on the cast to . You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on identi.ca and and Twitter. Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums. The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Bradley and Karen discuss what plagiarism is (or isn't) and how it interacts with copyleft licenses. Show Notes: Segment 0 (00:00:37) Please donate to to send Dan to a conference. There's a progress bar on faif.us now. You can also donate to support Software Freedom Conservancy, where Bradley and Karen work, by becoming a supporter. Karen mentioned her blog post about the supporter program. (00:08:30) Bradley mentioned his blog post about the supporter program as well. (00:09:30) Segment 1 (00:16:16) Bradley and Karen pick up on a topic original discussed in Segment 1 of FaiF 0x02. (00:16:50) Bradley discussed the Laurie Stearns' article from the California Law Review, entitled Copy Wrong: Plagiarism, Process, Property, and the Law (00:23:50) Bradley mentioned The GNOME Foundation Copyright Assignment Guidelines that he co-authored. (00:28:05) Bradley mentioned the Doris Kearns Goodwin Plagiarism controversy, and how it would have been simply redressed if the material she reused had been copylefted. (00:29:26) Karen mentioned that Flickr made different policies for CC-BY-SA'd works when selling printed versions. (32:30) Bradley mentioned that even software freedom advocates just comply with the copyleft licenses and don't work collaboratively, particularly during hostile forks, using Conservancy's Kallithea project as an example. (00:35:25) Bradley reiterated a point he made in FaiF 0x08, where he discussed that Linus Torvalds switched to GPL for Linux because he realized non-commercial restrictions weren't appropriate. (00:37:50) Bradley mentioned the hostile fork of GCC called egcs. The H-Online years later wrote a long article that discussed the egcs fork egcs fork. (00:39:46) Bradley mentioned that plagiarism is ultimately about attribution, and modern DVCS systems makes attribution easy and renders plagiarism impossible (if DVCS logs are accurate). (00:44:15) Bradley mentioned that he continually has learned the lesson that if you let your employer keep copyright, you lose everything you had when you switch employers (if the work isn't copylefted). (00:47:00) Bradley discussed the methods of attribution required in GPLv3. (00:50:05) Bradley mentioned that copyright notices are the primary method of attribution in copyleft licenses, and even non-copyleft ones too. (00:53:19) Karen discussed the attribution requirements in text of CC-BY-SA 4.0. (00:53:49) Bradley wants to do a whole FaiF show about how CC-BY-SA may not be a true copyleft since it has no source code requirement (00:54:40) Bradley mentioned the “fake name” that film directors use when they wish to disavow a work they aren't happy with. The name is, in fact, Alan Smithee, and indeed the 1984 film Dune lists Smithee as a director even though David Lynch is known publicly to be the director. (00:58:40) Bradley mentioned the unfair accusations against Red Hat when they stopped publishing their internal Linux Git repository and instead released a more standard ChangeLog. (01:05:30) Send feedback and comments on the cast to . You can keep in touch with Free as in Freedom on our IRC channel, #faif on irc.freenode.net, and by following Conservancy on on Twitter and and FaiF on Twitter. Free as in Freedom is produced by Dan Lynch of danlynch.org. Theme music written and performed by Mike Tarantino with Charlie Paxson on drums. The content of this audcast, and the accompanying show notes and music are licensed under the Creative Commons Attribution-Share-Alike 4.0 license (CC BY-SA 4.0).

Mac apparently works part-time for the US Marshals, "relocating" people into witness protection. Mac meets up with Frank, whose brother is a nasty mob boss, and agrees to take the case.

Episode #96 – Allen Smithee With Fred Fritz --- Support this podcast: https://anchor.fm/radiodrome/support