Podcast appearances and mentions of Taylor Hackford

KEANU REEVES & AL PACINO!! The Devil's Advocate Full Reaction Watch Along:   / thereelrejects   With Al Pacino returning in The Ritual, Keanu Reeves appearing in The Ballerina, & Tony Gilroy's Andor Season 2 out now, Andrew & John reunite for The Devil's Advocate Reaction, Recap, Commentary, Analysis, & Spoiler Review!! Start your online business with a $1 per-month trial when you visit https://www.shopify.com/rejects! Visit https://huel.com/rejects to get 15% off your order Join Andrew Gordon and John Humphrey as they step into the dark corridors of ambition in Taylor Hackford's 1997 horror/fantasy thriller, The Devil's Advocate. Keanu Reeves stars as hotshot lawyer Kevin Lomax (celebrated for The Matrix and John Wick), who leaves his small-town practice for a high-powered New York firm led by the charismatic John Milton (Al Pacino, Oscar-winner for Scent of a Woman and unforgettable in The Godfather Part II). As Kevin navigates cutthroat cases and moral compromises, his wife Mary Ann (Charlize Theron, Oscar-winner for Monster and acclaimed in Mad Max: Fury Road) becomes increasingly haunted by disturbing visions. The film's standout cast also includes Judith Ivey as Kevin's principled mother Alice Lomax (Sister Act 2), Connie Nielsen as enigmatic firm associate Christabella Andreoli (Wonder Woman), Craig T. Nelson as the billionaire accused of murder (Poltergeist), and Ruben Santiago-Hudson (Black Nativity) in a pivotal supporting role. Andrew & John break down every chilling moment—from the eerie opening courtroom exchange and the seductive mirror scene that reveals Kevin's true allegiance, to the climactic finale in Milton's infernal penthouse office. Experience how The Devil's Advocate weaves supernatural horror with legal drama, exploring corruption, temptation, and the ultimate price of power. Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Intense Suspense by Audionautix is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Follow Us On Socials:  Instagram: https://www.instagram.com/reelrejects/  Tik-Tok: https://www.tiktok.com/@reelrejects?lang=en Twitter: https://x.com/reelrejects Facebook: https://www.facebook.com/TheReelRejects/ Music Used In Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Happy Alley by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/... POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

Keanu Reeves, Al Pacino e Charlize Theron compongono il cast di questo thriller diretto da Taylor Hackford. L'avvocato di provincia Kevin Lomax non perde mai e la sua carriera lo porta a trasferirsi a New York insieme alla moglie Mary Ann. Tuttavia, anche i migliori hanno un punto debole: il suo è l'ambizione, che, unita all'egoismo, lo porterà a vendere l'anima al diavolo. Nel vero senso della parola.See omnystudio.com/listener for privacy information.

Roxana Hadadi, film and tv critic for Vulture and New York magazine returns to the pod for another episode about Tony Gilroy, this time looking at his screenplay for Taylor Hackford's kidnapping thriller from the year 2000,Proof of Life, starring top-billed Meg Ryan and the ascendant superstar Russell Crowe.Crowe plays Terry Thorne, an Australian K&R (Kidnap & Ransom) consultant sent down to the fictional South American Republic of Tecala to negotiate the release of an American oil company engineer (David Morse) held hostage by anti-government forces in the Andes mountains, who finds himself falling for Morse's distraught wife Meg Ryan.Proof of Life is best remembered today as the movie where Crowe and Ryan had an affair on location which doomed the movie to tabloid gossip; she was blamed for the end of her marriage to Dennis Quaid, and then for the financial failure of the film, leading to her decline as an A-list star.Proof of Life feels like a laboratory for some of Tony Gilroy's future works (for instance Crowe's character is based on a real life Australian hostage negotiator named Thomas Clayton!); viewing it through aMichael Clayton lens reveals a film that might have been better were it not for the nervousness of the studio that led them to play down the chemistry between the leads and the film's critique of co-operation between unethical corporations and corrupt governments in the Global South. It's a great example of the “Five-Star Three-Star Movie” which time sometimes helps to reveal.Over 30% of all Junk Filter episodes are only available to patrons of the podcast. To support this show directly and to receive access to the entire back catalogue, consider becoming a patron for only $5.00 a month (U.S.) at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/junkfilterJunk Filter is on Bluesky now!Follow Roxana Hadadi on Twitter and Bluesky.Trailer forProof of Life (Taylor Hackford, 2000)“Adventures in the Ransom Trade”, by William Prochnau, for Vanity Fair, the main source material for Tony Gilroy's screenplay, April 1998

GRAMMY® Winning TrumpeterIn This Episode, To Get Us in a Celebration of Music I Played  'Black Girl Magic" (feat. Badia Farha, Mumu Fresh & Nikki Grier) & Harlem Shake On "En Motion". Just a Couple Songs from  the Amazing Nabate Isles'.Nabaté Isles is a Grammy-winning trumpeter as well as a composer and producer, born and raised in New York City. Nabaté is releasing his second album called, En Motion, to be released on Ropeadope Records in the Fall of 2022. The album features the core lineup of Sam Barsh (also the album's producer), Eric Harland, Kaveh Rastegar, David Gilmore and Rachel Eckroth & guests include James Francies, Ben Wendel, Victor Provost, Sasha Berliner, Badia Farha. Added featured performers on the album are Mumu Fresh, Kardinal Offishall and Chuck D.Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Chuck D, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Leslie Odom, Jr., Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Joey DeFrancesco, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received two commissions from the Festival of New Trumpet Music to compose and premiere new compositions entitled, ‘We Need Unity in the Community' and 'Same Strife, Different Life'.Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, ‘Treme'. Nabaté was part of three Christian McBride Big Band's Grammy-winning albums, ‘The Good Feeling', ‘Bringin' It' and 'For Jimmy, Wes & Oliver' as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, ‘Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. He recently co-released a record dedicated to the late, great thespian and humanitarian, Chadwick Boseman called, 'Super Hero: Ode to Chadwick Boseman' with Niles, featuring Beth Griffith-Manley. As a sports trivia expert, he is the only person to Stump The Schwab on ESPN (Season 2) and be crowned a Sports Jeopardy champion (Season 1, Episode #8), on Crackle.com.  Now, he created and hosts his own podcast, 'Whe're They At', which profiles prominent retired athletes (https://linktr.ee/Whe_reTheyAt). The show has featured numerous Hall of Famers and luminaries like Chuck D, Dr. John Carlos, Chris Evert, Darrelle Revis, Warren Moon, David Robinson, Marshall Faulk, Tom Glavine, Larry Brown, Branford Marsalis, Taylor Hackford, to name a few.© 2025 All Rights Reserved© 2025 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Ray es una película biográfica de 2004 que cuenta la biografía de Ray Charles, músico ciego interpretado por Jamie Foxx. La película está dirigida por Taylor Hackford y consiguió el Óscar al mejor actor principal y al mejor sonido. El director Taylor Hackford escogió 17 canciones de Ray los años 50 y 60, seleccionadas de los álbumnes de Atlántic y ABC records. Lista de Tracks 01. Mess Around [02:41] 02. I've Got a Woman [02:52] 03. Hallelujah I Love Her So (live) [03:05] 04. Drown in My Own Tears [03:21] 05. (Night Time Is) The Right Time [03:24] 06. Mary Ann [02:47] 07. Hard Times (No One Knows Better Than I) [02:55] 08. What'd I Say (live) [04:38] 09. Georgia on My Mind [03:39] 10. Hit the Road Jack [02:00] 11. Unchain My Heart [02:50] 12. I Can't Stop Loving You (live) [03:16] 13. Born to Lose [03:15] 14. Bye Bye, Love [02:11] 15. You Don't Know Me (live) [03:15] 16. Let the Good Times Roll (live) [02:48] 17. Georgia on My Mind (live) [05:30]Escucha este episodio completo y accede a todo el contenido exclusivo de EDITORIAL GCO. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/2313218

A Navy Aviation Officer Candidate with a bad attitude (Richard Gere) must learn to be a team player or risk his chance to make a better life for himself.  Co-starring Debra Winger, Louis Gossett Jr., David Keith, Robert Loggia, Lisa Eilbacher, Harold Sylvester and David Caruso.  Directed by Taylor Hackford and features the hit song "Up Where We Belong" performed by Joe Cocker and Jennifer Warnes.

Happy Anderson is an actor with an extensive body of work in television and film. On the feature film side, Happy co-starred opposite Will Smith and Edgar Ramirez in David Ayer's Bright (Netflix), opposite Robert DeNiro in Taylor Hackford's The Comedian (Sony Pictures), opposite Sandra Bullock in Suzanne Bier's Birdbox (Netflix), opposite Julia Roberts and Clive Owen in Tony Gilroy's Duplicity (Universal) and again opposite Will Smith and Martin Lawrence in Bad Boys For Life (Sony Pictures). Happy will next be seen opposite Jon Hamm and Tina Fey in the film Maggie Moore(s) directed by John Slattery. His television work includes recurring roles on David Fincher's Mindhunter (Netflix), Steven Soderbergh's The Knick (Cinemax), Gotham (Fox), Snowpiercer (TNT), and The Blacklist (NBC). Most recently, Happy appeared in The Bikeriders (Peacock) opposite Tom Hardy as ‘Big Jack', where they engaged in an epic dirty and gritty fight scene – the starting point of our interview!Happy's website: http://www.happyandersonacting.com/Happy's IMDB: https://www.imdb.com/name/nm2322283/Happy's Instagram: https://www.instagram.com/happyandersonacting/MENTIONSThe Bikeriders Fists or Knives Fight Scene: https://youtu.be/YAPJexKgHPE?si=Ly2HnB1oTYKLvWtuDanny Lyon's Website: https://bleakbeauty.com Script Apart Podcast: https://www.scriptapart.com/episodes/the-bikeriders-jeff-nichols-interview Smithsonian Article: https://www.smithsonianmag.com/history/real-story-behind-bikeriders-danny-lyon-photography-book-inspired-it-180984579/ TAMMFF Film Freeway: https://filmfreeway.com/TAMMFF FILM FIGHTS WITH FRIENDSDo you listen to our show as an audio podcast? Give video a try. Subscribe to our Youtube for the video version with awesome behind the scenes pics and video! https://www.youtube.com/@FilmFightsFriendsPod?sub_confirmation=1Dig the show? Consider supporting our Patreon. There are some cool perks! Patreon: http://patreon.com/FilmFightsFriendsPodJoin our e-mail list! Hit us up here: fightingwithfriends@gmail.comInstagram: http://instagram.com/FilmFightsFriendsPodFacebook: http://facebook.com/FilmFightsFriendsPodSteve's Instagram: http://Instagram.com/sambosteve Steve's IMDB: http://imdb.me/stephenkoepferPaul's on Instagram:

Welcome back to Morgan Hasn't Seen with Jeannine Brice & Morgan Robinson!! November is all about ON-SCREEN OPPOSITES on this show as Jeannine curated a varied series where completely different people are thrown together! They begin the series this week with not only a great pairing of opposite characters, but a movie whose opposite genre's wouldn't seem to blend at all, yet the results are stellar. They're talking Taylor Hackford's dance musical/cold war thriller WHITE NIGHTS (1985) starring Mikhail Baryshnikov, Gregory Hines, Isabella Rossellini & Helen Mirren! Our YouTube Channel for Monday Madness on video, Watchalongs, Live Discussions & more: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/channel/UCvACMX8jX1qQ5ClrGW53vow⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Donate: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.buymeacoffee.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Join our Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ IT'S A WONDERFUL PODCAST STORE:  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://its-a-wonderful-podcast.creator-spring.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Sub to the feed and download now on Anchor, Apple Podcasts, Spotify, Stitcher, Google Podcasts, Castbox, Amazon Music & more and be sure to rate, review and SHARE AROUND!! Keep up with us on (X) Twitter: Podcast: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/ItsAWonderful1⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Morgan: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/Th3PurpleDon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Jeannine: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://twitter.com/JeannineDaBean_⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Keep being wonderful!! --- Support this podcast: https://podcasters.spotify.com/pod/show/itsawonderfulpodcast/support

We're rewinding the Film Festival to take another look at Parker with special guest Justin Morissette (ADHD-DVD)! We talk about Taylor Hackford, Jennifer Lopez, Big Brother, post-pandemic movies, when an adaptation is maybe too faithful to the book, why that one scene is so much better than the rest of the movie, and much more! Check it out! We had so much fun that EJ's computer overheated and shut down mid-episode so there's going to be a transition that we did our best to smooth out.

Sponsored by Surfshark! Get a deal at https://get.surfshark.net/SH3q3  Kirk Baltz is a film, theater and television actor who has worked with such noted film directors as Chantal Akerman, Warren Beatty, Oliver Stone, John Woo, Kevin Costner, Quentin Tarantino, Taylor Hackford and Deniz Gamez Erguven to name a few.  Kirk has appeared in such noted films as Reservoir Dogs, Bulworth, Natural Born Killers, Face/Off, and Dances With Wolves. In recent years, he's appeared in Taylor Hackford's Parker, Deniz Erguven's Kings, and the critically acclaimed short films The Armoire by Evan Cooper, and Demon by Caleb Slain. His TV appearances include Snowfall, NCIS:Los Angeles, 24, The Fugitive, Will & Grace, The Shield, Without A Trace, and NYPD Blue.  Kirk teaches acting classes in-person and virtually, and regularly leads acting workshops in major cities throughout the U.S. and abroad. Listen to the conversations, get some good news, and have some laughs with the guys on Good Things Are Happening. Visit us on the web at https://www.goodthingspod.com/ Patreon: https://www.patreon.com/goodthingsarehappeningpodcast/

This week poet and screenwriter Jimmy Santiago Baca joins Jimmy Patiño and me to talk about his 1993 epic Blood In Blood Out. We talk about Jimmy's life story, the challenges facing Chicanos in the 70s & 80s and the film's legacy today. This is a special pod. Hope you like it.About our guests:Jimmy Santiago Baca is a poet and activist of Chicano and Apache descent and author of Martin and Meditations on the South Valley (1987), which received the 1988 Before Columbus Foundation's American Book Award in 1989. In addition to over a dozen books of poetry, he has published memoirs, essays, stories, and a screenplay, Blood In Blood Out (aka Bound by Honor) (1993), which was  directed by Taylor Hackford.Jimmy Patiño seeks to critically excavate alternative imaginings of democratic practice among aggrieved communities in the midst of global capitalism. Concentrating on Mexican-origin and broader Latino/a/x communities at the U.S. Mexico Border and in major U.S. urban settings, his work attempts to dialog about the ways that concepts of race, gender and nation create hegemonic class disparities AND formulate an array of identities that mobilize social movements and initiate class struggles on multiple fronts. His first book, Raza Sí, Migra No: Chicano Movement Struggles for Immigrant Rights in San Diego asserts that important contingents of Mexican-origin activists in the U.S. engaged, across generations, the crisis over the “illegal alien“ through attempts at organizing the Mexican-origin community across differences of national affiliation and citizenship status. Focusing on San Diego due to its vital positioning as both urban and border space where consistent migration and race-based border policing has occurred, the project illuminates a serious challenge to deportation-oriented immigration policies between 1968 and 1986 through the ideological prism of Chicano self-determination. He is now working on a number of other projects, including a study that investigates the conceptualization and historical practice of solidarity primarily through the lens of African American, Chicana/o/x, and Puerto Rican sites of struggle in the twentieth century. Important to this investigation are the ways regional differences and geo-historical contexts facilitated articulations of Black-Brown/Afro-Latinx diasporic solidarities and how these articulations led to counter hegemonic activities and theories of revolution across local, national and transnational boundaries. Through a relational and comparative framework, the study will ground these analyses in historical activities in the Midwest, Texas, California and New York in the burgeoning Black and Brown Power movements at the mid to late 20th century. His broader research and teaching interests include Comparative Ethnic Studies, Chicano/a-Latino/a History, diaspora/transnationalism/borderlands, social movements and political mobilizations, and Cultural Studies.

What happens when the worlds of bartending and filmmaking collide? Join us on this special edition of "Open Tabs" with our guest host Rudy Ruiz from the "Drinks and a Movie" podcast. Rudy brings his unique blend of film critique and drink reviews to the table as we chat about the current landscape of summer blockbusters. Despite the quieter summer, we shine a spotlight on upcoming films like "Inside Out" and the highly anticipated hits of July. Plus, hear the results of our recent Instagram poll, where fans crowned "Blood In, Blood Out" as their top pick. Rudy's enthusiasm for this cult classic is palpable, and he shares his passion for the movie and its impact.Our conversation takes an unexpected turn as we delve into the fascinating connection between bartending and the film industry. Rudy and I swap personal stories of how mixing drinks opened doors to unique interactions and industry insights, including a memorable encounter with Taylor Hackford, the director of "Blood In, Blood Out." The discussion broadens to include Hackford's other significant works such as "Ray" and "The Devil's Advocate," and the surprising realization of a white director helming a culturally significant film. Wrapping up, we reflect on how these behind-the-scenes experiences enrich our appreciation for filmmaking. Don't miss out on this episode filled with engaging stories, movie trivia, and the unexpected ties between two seemingly different worlds.https://msha.ke/thisseatstaken

From Al Pacino's electrifying portrayal of the enigmatic John Milton, to Keanu Reeves' poignant performance as the conflicted Kevin Lomax, listen as we unravel the layers of Taylor Hackford's cinematic gem, and explore the intricacies of power, temptation, and morality, as we dissect why this film holds a special place in one of our host's heart.Thank you for listening! Don't forget to rate & subscribe. New episodes bi-weekly. Also available on YouTube.

Gay homosexuals Nick and Joseph discuss An Officer and a Gentleman - a 1982 American romantic drama film directed by Taylor Hackford, starring Richard Gere, Debra Winger, and Louis Gossett Jr..⁠⁠⁠⁠⁠⁠⁠ Additional topics include: -⁠Top 5 releases of March -Lizzo quitting -Rebel Wilson telling -Parental advisories Join us on Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.patreon.com/FishJellyFilmReviews⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Want to send them stuff? Fish Jelly PO Box 461752 Los Angeles, CA 90046 Find merch here: https://fishjellyfilmreviews.myspreadshop.com/all Venmo @fishjelly Visit their website at www.fishjellyfilms.com Find their podcast at the following: Anchor: https://anchor.fm/fish-jelly Spotify: https://open.spotify.com/show/388hcJA50qkMsrTfu04peH Apple Podcasts: https://podcasts.apple.com/us/podcast/fish-jelly/id1564138767 Find them on Instagram: Nick (@ragingbells) Joseph (@joroyolo) Fish Jelly (@fishjellyfilms) Find them on Letterboxd: https://letterboxd.com/ragingbells/ https://letterboxd.com/joroyolo/ Nick and Joseph are both Tomatometer-approved critics at Rotten Tomatoes: https://www.rottentomatoes.com/critics/nicholas-bell https://www.rottentomatoes.com/critics/joseph-robinson --- Support this podcast: https://podcasters.spotify.com/pod/show/fish-jelly/support

After last week's debacle of a movie with Chris' Assault on Devil's Island pick, Dave's decided to go with more of a classic in the same year with The Devil's Advocate. Directed by Taylor Hackford, this production involved assembling a stellar cast, with Keanu Reeves in the lead role as Kevin Lomax, alongside Al Pacino, Charlize Theron, and Jeffrey Jones. The film, adapted from Andrew Neiderman's novel, explores themes of morality, ambition, and the supernatural within the context of a legal drama. Hackford worked closely with screenwriters Jonathan Lemkin and Tony Gilroy to bring a visually striking and intellectually stimulating narrative to the screen. Filming took place in various locations, including New York City, adding an authentic backdrop to the story's urban setting. The movie faced challenges in balancing the supernatural elements with the psychological and legal aspects of the plot. The film's portrayal of the seductive allure of success and power was heightened by Al Pacino's captivating performance as John Milton, the charismatic but diabolical boss. The production team utilized practical effects and elaborate set designs to create visually stunning sequences, particularly in conveying the surreal and hellish visions that Reeves' character experiences. With its intricate storyline, atmospheric cinematography, and powerful performances, "The Devil's Advocate" aimed to delve into moral complexities while delivering a thrilling and visually engaging cinematic experience. If you enjoy the show we have a Patreon, so become a supporter. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.patreon.com/thevhsstrikesback⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Plot Summary: Ambitious attorney Kevin Lomax rises to prominence in a powerful New York law firm led by the charismatic and enigmatic John Milton. As Lomax becomes entangled in the seductive world of wealth, success, and high-stakes legal cases, he gradually discovers the dark and supernatural truth behind Milton's façade. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠thevhsstrikesback@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/vhsstrikesback⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/thevhsstrikesback/support

Remember Gladiator era Russell Crowe? Well, the same year that movie came out was also the same year that this week's selection by Govier known as Proof Of Life (2000) came out. Does this Taylor Hackford feature starring Meg Ryan hold up? Press play to find out! As always we also provide our quarantine viewing picks which now come with a bit more brevity. In addition, please go to our YouTube page and click on Eric Branstrom's profile so you can watch his new short film Instant Life. Please sub our YouTube where you can watch all of our episodes. We don't live stream the show anymore, but we do post the video of each episode. Also, you can give us a 5 star review on your podcast platform of choice. Do it right now! Take 20 seconds. Thank you! If anything from this episode strikes you, email the show cinema9pod@gmail.com

Dolores Claiborne is a 1995 American psychological thriller drama film directed by Taylor Hackford and starring Kathy Bates, Jennifer Jason Leigh, Christopher Plummer, and David Strathairn. The screenplay by Tony Gilroy is based on the 1992 novel of the same name by Stephen King. The film's score was written by Danny Elfman. The plot focuses on the strained relationship between a mother and her daughter, largely told through flashbacks, after her daughter arrives to her remote hometown on a Maine island where her mother has been accused of murdering the elderly woman for whom she had long been a care-provider and companion. Dolores Claiborne was the second major King film adaptation to star Bates in a leading role after Misery five years earlier. Kathy Bates stated in a retrospective interview that her performance as the titular Dolores was her favorite performance she had ever given. If you have anything to add to the discussion, please don't hesitate to do so by reaching out to us on social media @TheFilmFlamers, or call our hotline and leave us a message at 972-666-7733!            Watch Dolores Claiborne: https://amzn.to/47LEkxv         Out this Month: Week 1: Shooting the Flames Week 2: Misery Week 3: Delores Claiborne Week 4: Up In Flames: 2023 in Review Patreon: Stephen King Poll     Coming in February 2024: Possession It Follows      Get in Touch:  Support us on Patreon: https://www.patreon.com/TheFilmFlamers  Visit our Store: https://teespring.com/stores/thefilmflamers  Twitter: https://twitter.com/TheFilmFlamers  TikTok: https://www.tiktok.com/@thefilmflamers  Facebook: https://www.facebook.com/TheFilmFlamers/ Letterboxd: https://letterboxd.com/thefilmflamers/ Our Website: https://www.filmflamers.com  Call our Hotline: 972-666-7733     Our Patrons:    #ExiledTexan Alex Mendoza Anthony Criswell Ashlie Thornbury BattleBurrito BelleBeignet Benjamin Gonzalez Bennett Hunter Big Dave Bonnie Jay BreakfastChainsawMassacre Call me Lestat. CenobiteBetty Christopher Nelson Cj Mcginnis Dan Alvarez Gia-Ranita Pitt Gillian Murtagh GlazedDonut GWilliamNYC Irwan Iskak James Aumann Jessica E Joanne Ellison Josh Young Kimberly McGuirk Kitty Kelly Laura O'Malley Lisa Libby Livi Loch Hightower Mary Matthew McHenry Nicole McDaniel Nikki (phillyenginerd) Niko Allred Orion Yannotti Paul P Penelope Nelson random dude Robert Eppers Rosieredleader Ryan King Sean Homrig The Dean Swann Tony Pellonari Walstrich William Skinner   Sweet dreams...      "Welcome to Horrorland" by Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Includes music by Karl Casey @ White Bat Audio

GRAMMY® Winning TrumpeterIn This Episode, To Get Us in a Happy Holiday Mood You Listened to  Black Girl Magic (feat. Badia Farha, Mumu Fresh & Nikki Grier) & Harlem Shake On "En Motion". Just a Couple Songs from Great New Music from Nabate Isles'.Nabaté Isles is a Grammy-winning trumpeter as well as a composer and producer, born and raised in New York City. Nabaté is releasing his second album called, En Motion, to be released on Ropeadope Records in the Fall of 2022. The album features the core lineup of Sam Barsh (also the album's producer), Eric Harland, Kaveh Rastegar, David Gilmore and Rachel Eckroth & guests include James Francies, Ben Wendel, Victor Provost, Sasha Berliner, Badia Farha. Added featured performers on the album are Mumu Fresh, Kardinal Offishall and Chuck D.Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Chuck D, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Leslie Odom, Jr., Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Joey DeFrancesco, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received two commissions from the Festival of New Trumpet Music to compose and premiere new compositions entitled, ‘We Need Unity in the Community' and 'Same Strife, Different Life'.Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, ‘Treme'. Nabaté was part of three Christian McBride Big Band's Grammy-winning albums, ‘The Good Feeling', ‘Bringin' It' and 'For Jimmy, Wes & Oliver' as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, ‘Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. He recently co-released a record dedicated to the late, great thespian and humanitarian, Chadwick Boseman called, 'Super Hero: Ode to Chadwick Boseman' with Niles, featuring Beth Griffith-Manley. As a sports trivia expert, he is the only person to Stump The Schwab on ESPN (Season 2) and be crowned a Sports Jeopardy champion (Season 1, Episode #8), on Crackle.com.  Now, he created and hosts his own podcast, 'Whe're They At', which profiles prominent retired athletes (https://linktr.ee/Whe_reTheyAt). The show has featured numerous Hall of Famers and luminaries like Chuck D, Dr. John Carlos, Chris Evert, Darrelle Revis, Warren Moon, David Robinson, Marshall Faulk, Tom Glavine, Larry Brown, Branford Marsalis, Taylor Hackford, to name a few.© 2023 All Rights Reserved© 2023 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

The Ringer's Bill Simmons, Chris Ryan, and Sean Fennessey rewatch the 1982 classic ‘An Officer and a Gentleman' because they've got nowhere else to go! They continue “Wait, This Movie Made HOW Much Money??” month by rewatching the romantic hit starring Richard Gere, Debra Winger, and Louis Gossitt Jr. and directed by Taylor Hackford. Producer: Craig Horlbeck Learn more about your ad choices. Visit podcastchoices.com/adchoices

One of Carol's superpowers as a successful producer is her relationships with WRITERs. She is credited for starting the careers of David O'Russell, Noah Baumbach, and Mike White, in addition to being Former VP at 20th Century Fox and Co-President of Sandollar Productions (founded by Dolly Parton and Sandy Gallin). This is an excerpt from Carol Baum's new book: ⁠⁠⁠Creative Producing: a pitch-to-picture guide to Movie Development⁠⁠⁠. It is available wherever you buy books. Here we delve into Do's and Don'ts for talking to Writers, with some incredible stories along the way. Chapter 5 - Script Development, pages 49-52. Carol Baum has produced thirty-four movies, seventeen of them independently. Before becoming an independent producer, Baum was co-president of Sandollar Productions, Dolly Parton and Sandy Gallin's production company, for ten years, where she produced such hits as Father of the Bride; the Academy Award-winning HBO documentary Common Threads: Stories from the Quilt; Tidy Endings; I.Q.; Jacknife; True Identity; Buffy the Vampire Slayer; Gross Anatomy; Shining Through; Straight Talk; and Kicking and Screaming. As an indie producer, Baum made, among other movies, including The Good Girl; You Kill Me; and Boychoir. She has produced five television movies for Hallmark and several documentaries.  Her roots are in New York City, where she spent her early career in publishing, working for both Bantam Books and Random House and scouting for the English publisher Corgi. While in New York, she developed Ira Levin's The Stepford Wives, Stephen King's The Shining, and Ira Levin's The Boys from Brazil. When she relocated to Los Angeles, Baum became a studio vice president at Twentieth Century Fox and a senior vice president at Lorimar, where she developed Taylor Hackford's An Officer and a Gentleman. Following her stint as an executive, she produced David Cronenberg's Dead Ringers. Baum currently teaches producing in the Film and Television Production Division at USC's School of Cinematic Arts. She is also a mentor for the Peter Stark Producing Program at USC. Guest: ⁠IMDb⁠ ⁠Website⁠ ⁠Wikipedia⁠ Carole's book ⁠⁠Creative Producing: a pitch-to-picture guide to movie development⁠⁠ is available wherever you buy books. Host: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneMiller⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook page:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/mentorsonthemic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.michellesimonemiller.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠www.mentorsonthemic.com⁠⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/user/24mmichelle⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠Click here to join our Mailing list.⁠⁠⁠⁠⁠⁠⁠ Mentioned on this episode: ⁠Best Podcasts for Actors (Backstage)⁠ ⁠6 Must Listen to Podcasts for Actors (TheaterArtLife)⁠ ⁠30 Best Acting Podcasts (Feedspot)⁠ Join me at this virtual panel brought to you by SAG-AFTRA ⁠Actors with Podcasts for Actors⁠ --- Support this podcast: https://podcasters.spotify.com/pod/show/michelle-miller4/support

I recorded the intro to this episode earlier this week and already it's outdated! The strike is over! We can now talk about how GREAT Carol Baum is. Carol Baum has produced thirty-four movies, seventeen of them independently. Before becoming an independent producer, Baum was co-president of Sandollar Productions, Dolly Parton and Sandy Gallin's production company, for ten years, where she produced such hits as Father of the Bride; the Academy Award-winning HBO documentary Common Threads: Stories from the Quilt; Tidy Endings; I.Q.; Jacknife; True Identity; Buffy the Vampire Slayer; Gross Anatomy; Shining Through; Straight Talk; and Kicking and Screaming. As an indie producer, Baum made, among other movies, including The Good Girl; You Kill Me; and Boychoir. She has produced five television movies for Hallmark and several documentaries.  Her roots are in New York City, where she spent her early career in publishing, working for both Bantam Books and Random House and scouting for the English publisher Corgi. While in New York, she developed Ira Levin's The Stepford Wives, Stephen King's The Shining, and Ira Levin's The Boys from Brazil. When she relocated to Los Angeles, Baum became a studio vice president at Twentieth Century Fox and a senior vice president at Lorimar, where she developed Taylor Hackford's An Officer and a Gentleman. Following her stint as an executive, she produced David Cronenberg's Dead Ringers. Baum currently teaches producing in the Film and Television Production Division at USC's School of Cinematic Arts. She is also a mentor for the Peter Stark Producing Program at USC. Guest: IMDb Website Wikipedia Carole's book ⁠Creative Producing: a pitch-to-picture guide to movie development⁠ is available wherever you buy books. Host: Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneMiller⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MentorsontheMic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@MichelleSimoneM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Facebook page:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ https://www.facebook.com/mentorsonthemic⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Website:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ www.michellesimonemiller.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠www.mentorsonthemic.com⁠⁠⁠⁠ Youtube: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://www.youtube.com/user/24mmichelle⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠Click here to join our Mailing list.⁠⁠⁠⁠⁠⁠ Mentioned on this episode: Best Podcasts for Actors (Backstage) 6 Must Listen to Podcasts for Actors (TheaterArtLife) 30 Best Acting Podcasts (Feedspot) Join me at this virtual panel brought to you by SAG-AFTRA Actors with Podcasts for Actors --- Support this podcast: https://podcasters.spotify.com/pod/show/michelle-miller4/support

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

The Grue-Crew review KING ON SCREEN (2023, Darkstar) on Gruesome Magazine episode 456. Jeff Mohr from Decades of Horror: The Classic Era, Crystal Cleveland, the Livin6Dead6irl from Decades of Horror: 1980s, award-winning filmmaker Christopher G. Moore, lead news writer Dave Dreher, and Doc Rotten share their thoughts about this week's frightening addition to streaming horror films. Warning: possible spoilers after the initial impressions! KING ON SCREEN (2023, Darkstar) 1976, Brian de Palma directs Carrie, the first novel by Stephen King. Since, more than 50 directors adapted the master of horror's books, in more than 80 films and series, making him now, the most adapted author still alive in the world. Available in Theaters on August 11, 2023, and available On Demand and Blu-Ray on September 8, 2023 Directed by: Daphné Baiwir Cast: Mike Flanagan, James Caan, Frank Darabont, André Øvredal, Amy Irving,Jeffrey DeMunn, Taylor Hackford, Tom Holland, Fraser C. Heston, Vincenzo Natali, Mikael Håfström, Tod Williams, Mick Garris, Mark L. Lester, Lewis Teague, Craig R. Baxley,Tom McLoughlin FOLLOW: Gruesome Magazine Website http://gruesomemagazine.com YouTube Channel (Subscribe Today!) https://youtube.com/c/gruesomemagazine Instagram https://www.instagram.com/gruesomemagazine/ Facebook Group: https://www.facebook.com/groups/HorrorNewsRadioOfficial/ Doc, Facebook: https://www.facebook.com/DocRottenHNR Crystal, Facebook: https://www.facebook.com/living6dead6irl Crystal, Instagram: https://www.instagram.com/livin6dead6irl/ Jeff, Facebook: https://www.facebook.com/jeffmohr9 Dave, Facebook: https://www.facebook.com/drehershouseofhorrors

Actor/Writer Saul Rubinek joins Mase & Sue on the CULTURE POP PODCAST to talk about his illustrious career from his latest film BLACK BERRY – the story of the ill-fated smartphone — to working with Clint Eastwood in UNFORGIVEN, Oliver Stone in WALL STREET, Taylor Hackford in AGAINST ALL ODDS & his starring role in the passion project SHTTL. They also discuss SO MANY MIRACLES, the book he penned about his parent's remarkable survival of the Holocaust. Plus, the mentoring he received from Jeff Bridges and sage auditioning advice he got from Jack Nicholson.

We're moving away from the Festival for a moment, and bringing you your regular @EchoChamberFP https://www.instagram.com/echochamberfp/ episode!!! Horror seems to be the theme this week, as we have three different offerings from the genre. Mainframe Pictures & Blue Finch Films start things off with an 80's summer camp homage. Tempo Productions & Shudder then bring us a tale steeped in Irish folklore and home invasion. Next is an action adventure sequel from AGBO & Netflix. AND we end on a documentary about a master horror storyteller from Les Films de la Plage & Signature Entertainment. Today we have: She Came From The Woods Watch Review: Here. https://youtu.be/xNhS-NY9cMU FrightFest: 27th August 2022 Theatrical Release Date: 10th February 2023 Tubi Release Date: 10th June 2023 Digital Release Date: 26th June 2023 Director: Erik Bloomquist Cast: Cara Buono, Clare Foley, Spencer List, William Sadler, Michael Park, Tyler Elliot Burke, Adam Weppler, Ehad Berisha, Dan Leahy, Giselle Torres, Sienna Hubert-Ross, Emily Keefe, Erik Bloomquist, Cory Asinofsky Credit: Mainframe Pictures, Blue Finch Films, Tubi Genre: Horror Running Time: 101 min Cert: 15 Trailer: Here. https://youtu.be/SQwQ-bPGYGs Digital Platforms: Amazon, iTunes, Google Play, YouTube Movies ------------ Unwelcome Watch Review: Here. https://youtu.be/xP1JJ2umiu8 Sitges Film Festival: 14th October 2022 Theatrical Release Date: 27th January 2023 Digital Release Date: 23rd June 2023 Director: Jon Wright Cast: Hannah John-Kamen, Douglas Booth, Colm Meaney, Jamie-Lee O'Donnell, Kristian Nairn, Chris Walley, Niamh Cusack, Finbar Lynch, Rick Warden Running Time: 104 min Cert: 15 Trailer: Here. https://youtu.be/vQCAgCKQ5WY Digital Platforms: Amazon, iTunes, Google Play, YouTube Movies, Vudu Watch via Apple TV+: Here. https://tv.apple.com/us/movie/unwelcome/umc.cmc.4f5as77xbd737a2j5q2q4s0mg Watch via Prime Vide: Here. https://www.amazon.com/gp/video/detail/0U7Q8THTQRKJKNFQSAYYMZN226 Watch via Prime Vide UK: Here. https://www.amazon.co.uk/Unwelcome-Hannah-John-Kamen/dp/B0B8T81DQ3/ref=sr_1_1?crid=1G60GV5P41CIF&keywords=unwelcome+2023&qid=1687626859&s=instant-video&sprefix=Unwelcom%2Cinstant-video%2C77&sr=1-1 Website: Here. https://wellgousa.com/films/unwelcome ------------ Extraction 2 Watch Review: Here. https://youtu.be/g-BBExE8VQg Theatrical Release Date: 13th June 2023 Digital Release Date: 16th June 2023 Director: Sam Hargrave Cast: Chris Hemsworth, Golshifteh Farahani, Adam Bessa, Olga Kurylenko, Daniel Bernhardt, Tinatin Dalakishvili, Idris Elba, Andro Japaridze, Miriam Kovziashvili, Marta Kovziashvili, Tornike Gogrichiani, Tornike Bziava, Dato Bakhtadze, Daniel Bernhardt, Levan Saginashvili, George Lasha, Irakli Kvirikadze Running Time: 122 min Cert: 15 Trailer: Here. https://youtu.be/mO0OuR26IZM Watch via Netflix: Here. https://www.netflix.com/browse?jbv=81098494 Website: Here. https://www.netflix.com/tudum/extraction-2 ------------ Stephen King on Screen Watch Review: Here. https://youtu.be/uMCFUoNx64Y Fantastic Fest: 24th September 2022 Digital Release Date: 26th June 2023 Blu-ray Release Date: 18th September Director: Daphné Baiwir Cast: Frank Darabont, Tim Curry, Tom Holland, James Caan, Mike Flanagan, Mick Garris, Mikael Salomon, Craig R Baxley, Taylor Hackford, John Harrison, Scott Hicks, Vincenzo Natali, Mikael Hafstrom, Fritz Kiersch, Andre Ovredal, Peter Askin, Jeff Beesley, Zak Hilditch, JP Scott, James Douglas, Stephen King Running Time: 105 min Cert: 15 Trailer: Here. https://youtu.be/-A3Q5dXRBtM Digital Platforms: Amazon, iTunes, Google Play, YouTube Movies Watch via Apple TV+: Here. https://tv.apple.com/gb/movie/stephen-king-on-screen/umc.cmc.28oppg4u8jyrh2bcxx861f69o Website: Here. https://kingonscreen.com/ ------------ *(Music) 'No One Knows' by Queens of the Stone Age - 2002 --- Send in a voice message: https://podcasters.spotify.com/pod/show/eftv/message

Listen to this free-wheeling conversation with acclaimed poet, memoirist, screenwriter and educator Jimmy Santiago Baca. We talk about the gift of saying 'no,' the unexpected byproducts of incarceration, his upcoming writers retreat, and hear him read several of his poems from his 50-year writing career. You can learn more about Jimmy on his website, at the Poetry Foundation, and find out about his upcoming writers retreat in Albuquerque, New Mexico here. The documentary based on his novel "A Place to Stand" can be seen on YouTube. You can also watch the film directed by Taylor Hackford, Bound by Honor, based on Jimmy's life here.

An episode we've had on the backburner for a while now taking a look at Taylor Hackford's Devils Advocate.Thanks to all our Patrons and YouTube Members for supporting the channel, if you would like early access to TSL Content, find out more at the links below.https://www.youtube.com/channel/UCLfaW3fd5Oo-nFvKsL_1CfQ/joinhttps://www.patreon.com/tslmoviepodcastPO Box 156, Stockholm, NJ 07460 USAMany thanks to "Karl Casey @ White Bat Audio" for providing the superb synth background music.Many thanks to Jason Draughon for the amazing channel artwork. You can check him out here at https://www.instagram.com/jase_drawn/Please feel free to like and subscribe. You can also join our facebook page where you can learn when our shows are about to drop. https://www.youtube.com/c/TheSlaughteredLambMoviePodcasthttps://www.facebook.com/groups/803029887178672https://www.instagram.com/the_slaughtered_lamb_podcast/https://twitter.com/SlaughteredTheAll clips and images used in this video were used ONLY as a means to review and criticise and should be considered as FAIR USE, under the Copyright act.Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use.

A talented film critic, photographer, & podcaster based in England, Leslie Byron Pitt has written for Set the Tape & Empire Magazine, & has also been published on Vodzilla, Film Stories, & Little White Lies online. Additionally featured on Inside Cinema for the BBCi Player, when he isn't writing, doing expressive photography, or creating new pieces for print, Leslie can be found on the erotic thriller podcast Fatal Attractions. A returning guest from early in Season 2, when we did a really thoughtful episode devoted to three unique tales of human connection onscreen, in this terrific, fascinating conversation that's filled with research & rich insights, Watch With Jen continues its exploration into erotic cinema & the films of Paul Schrader this season with an in-depth look at Richard Gere's early breakout role in AMERICAN GIGOLO. Recently captivated by the way Gere skyrocketed to fame while taking on very daring roles that dealt with sexuality & questions of masculinity, Leslie & I move from GIGOLO to director Taylor Hackford's Oscar winner AN OFFICER & A GENTLEMAN, & then take a sharp left into Jim McBride's neon, rock 'n roll, comic book, & sex soaked remake of Jean-Luc Godard's BREATHLESS, which was a major influence on Quentin Tarantino. Jen's Note: I greatly respect and enjoy the level of analysis & research that Leslie brings to film discussions, & I know you'll enjoy this episode! However, while it isn't terribly explicit, due to the subject matter, much like the Schrader & Erotic '80s and '90s discussions, it's still one you should listen to without the kids. Originally Posted on Patreon (4/26/23) here: https://www.patreon.com/posts/82090309 Logo: KateGabrielle.comTheme Music: Solo Acoustic Guitar by Jason Shaw, Free Music Archive

Welcome to the Horror Project Podcast. Join hosts Phil and Laura as they review The Devil's Advocate (1997).This week we discuss Keanu Reeves' career as a hot-shot lawyer, as he is faced with temptation and moral tests at every turn. Charlize Theron's appearance in her breakout role as the tragic Mary Ann. Plus the sprinkling of 'erotic thriller' which was so prevalent back in the 90s.Plus we shall be finding a place on the leaderboard for the movie during our Ranking.We hope you enjoy the show, thanks for listening!Email - Horrorprojectpodcast@hotmail.com  Twitter - @TheHorrorProje1Instagram - horrorprojectpodcastTikTok - @horrorprojectpodcast

Justin and Hayley are back to review the film that spawned the entire idea for the podcast, a movie that had been collecting dust on J Mo's shelf for sixteen and a half years without ever having been watched: 2004's Ray, written and directed by Taylor Hackford, and starring Jamie Foxx, Kerry Washington and Regina King, for which Foxx won the Academy Award for Best Actor. After starting the show last week with an unconventional music bio-pic, Music Month continues this time around with a movie that wallows in convention to such an extent it is often flirting with self-parody. If you want to watch along before you listen to the show, Ray is streaming in Canada on Amazon Prime and Starz at the time of publication, while it can be streamed free in the United States on Tubi. We'll be back again next week with John Landis's The Blues Brothers.

Prison, drugs and gang war touch three friends from the east coast. A guest co-host joins them and learns that the previous co-host was killed by these friends, and he fears the same will happen to him. On Episode 548 of Trick or Treat Radio we are joined by EF Contentment for another Patreon Takeover! This time EF has selected the films Blood In, Blood Out from director Taylor Hackford and Unman, Wittering and Zigo from director John Mackenzie for us to discuss! We spend a large portion of this oversized show talking about the highly quotable crime epic Blood In, Blood Out close to the film's 30th anniversary! Orale, grab your copy of Leonard Maltin's Movie Guide, expect nothing and get everything, and strap on for the world's most dangerous podcast!Stuff we talk about: Patreon Takeover, MZ's glossy-eyed stare, The Offering, watching the wrong movie, EF Contentment, Cruise Gooseman, going to the theater, Watch/Skip+, Nasty Boys, Blood In Blood Out, Teddy Wilson, Delroy Lindo, Damian Chapa, Jesse Borrego, Michael Pare, Nemesis, Albert Pyun, Taylor Hackford, Benjamin Bratt, Tom Towles, Billy Bob Thornton, descrambled ppv, David Ayer, Harsh Times, Christian Bale, Peace Corps, American Me, Tom Cruz, Heroes, Fame, drug-addicted artist stereotype, Vatos Locos Forever, how you recover from tragedy, Richard Masur, Risky Business, License to Drive, Ving Rhames, The Thing, Thomas F. Wilson, doing the vengeance, John Woo, Bullet in the Head, RRR, Dashcam, Lanny Flaherty, Stuart Gordon, William H. Macy, Edmond, scared straight, Inglourious Basterds, Schindler's List, Helen Mirren is the bridge between worlds, Fast and Furious, True Lies, Unman Wittering and Zigo, John Mackenzie, David Hemmings, Leonard Maltin's Movie Guide, Carolyn Seymour, Droogs, A Clockwork Orange, 70s film stock, boarding school kids are dicks, Benedict Cumberbatch, Serpico, spin-offs 50 years later, Hobo with a Shotgun, Kids vs. Aliens, Jason Eisener, Tales from the Territories, Dark Side of the Ring, San Quentin, East LA, racism in the lunch line, Menace 2 Society, Boyz in the Hood, Hollywood Pictures, White Knights, Miklo Ravenshadow, 20/23 Vision, and Hooked on Buttcrack.Support us on Patreon: https://www.patreon.com/trickortreatradioJoin our Discord Community: discord.trickortreatradio.comSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comStart your own podcast: https://www.buzzsprout.com/?referrer_id=386Use our Amazon link: http://amzn.to/2CTdZzKFB Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TrickTreatRadioFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TrickOrTreatRadioInstagram: http://instagram.com/TrickorTreatRadioSupport the show

Journalist at KQED San Francisco Carly Severn joins us to discuss the 1997 thriller THE DEVIL'S ADVOCATE. It's a film that is equal parts Faustian parable and John Grisham legal kitsch and features a scene-chewing Al Pacino as the titular prince of darkness.We praise the film's singular cast (including the aforementioned Pacino, Keanu Reeves in 90s accent mode, and an extremely commited Charlize Theron), relate the film's fixations on good and evil to some other stalwart film properties of the decade, and unpack why the late 90s was a period uniquely positioned from a prime reappraisal of America's spiritual condition. Follow Carly Severn on Twitter. Get access to all of our premium episodes and bonus content by becoming a Hit Factory Patron for just $5/month.....Our theme song is "Mirror" by Chris Fish. 

Paris Barclay is one of television's most successful and honored directors. Throughout his illustrious career in television, Paris has directed over160 episodes of television, including episodes of NYPD BLUE, ER, THE WEST WING, LOST, THE GOOD WIFE, CSI, SONS OF ANARCHY, HOUSE, GLEE, IN TREATMENT, SCANDAL, EMPIRE, PITCH and STATION 19. He won two Emmy Awards for his direction of NYPD BLUE and has received six additional Emmy nominations for producing and directing, including three for directing episodes of GLEE, and one for THE WEST WING. Paris has also garnered ten Directors Guild nominations (for shows as diverse as IN TREATMENT, WEEDS, HOUSE, as well as GLEE and THE WEST WING), winning once for NYPD BLUE. He also became the first Director in the history of the Guild to receive a comedy and drama nomination in the same year, two years in a row (2008 & 2009). He's received three NAACP Image Awards, for producing, co-creating, and directing CITY OF ANGELS, and for directing COLD CASE and SMASH. In 2014, the NAACP inducted Paris into the NAACP Image Awards Hall of Fame, joining such luminaries as Sidney Poitier, Oprah Winfrey, and Gordon Parks. He directed the feature film (and cult favorite) DON'T BE A MENACE TO SOUTH CENTRAL WHILE DRINKING YOUR JUICE IN THE HOOD, as well as telefilms for HBO (a western, THE CHEROKEE KID, starring Sinbad, James Coburn and Burt Reynolds) and THE BIG TIME for TNT (a drama with Christina Hendricks, Molly Ringwald, and Christopher Lloyd.) Further bulging his shelves, Paris has been recognized as a writer as well, receiving a WGA and Humanitas Prize nomination for his telefilm (with Dustin Lance Black) PEDRO, for MTV. He's shared two Humanitas Prizes, four prestigious Peabody Awards. He co-created the series CITY OF ANGELS (which ran for 2 years on CBS), co-wrote and directed the pilot HATE for Showtime, and has rewritten projects for Disney and HBO. Paris was elected President of the Directors Guild of America in June 2013 and is the first African-American and openly gay President in the history of the Guild. Before being elected President, Paris served four terms as the First Vice President of the DGA. Mr. Barclay first joined the DGA in 1992, and was elected to the Western Directors Council and the National Board in 1997. He and Taylor Hackford shared the 2007 Robert Aldrich Award, given for extraordinary service to the Director's Guild of America. Paris was enthusiastically re-elected in June 2015 to serve a second term as president before stepping down in June 2017. Paris directed the pilot of and currently works as the executive producer of the Shondaland show, STATION 19, which follows a group of Seattle firefighters that exist in the GREY'S ANATOMY universe and stars Jaina Lee Ortiz, Jason George, and Boris Kodjoe. Additionally, the show is executive produced by Shonda Rhimes, Betsy Beers, and Krista Vernoff. It premiered in March 2018 and is currently producing its fourth season for ABC. Paris got his start in advertising, working as a creative executive and then segued into directing music videos for some of music's biggest stars, such as: Janet Jackson, Bob Dylan, and LL Cool J. In addition to his service to the DGA, Paris has been recognized for his service and contributions to many charitable organizations, including Liberty Hill, GLAAD, and Project Angel Food. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/erin-claimingdisability/message

Director Damien Chazelle discusses his new film, Babylon, with fellow director Taylor Hackford in a Q&A at the DGA theater in Los Angeles. In the conversation, Chazelle discusses the real-life figures who inspired the lead characters in the film, capturing the DNA of a "party movie" through the use of music, and crafting an atmosphere on set where life blends with art. The film chronicles the rise and fall, outsized ambition, and outrageous excess of multiple characters during Hollywood's transition from silent to sound films in the late 1920s. Please note: spoilers are included. See photos and a summary of this event below: https://www.dga.org/Events/2023/February2023/1222_QnA_Babylon.aspx

Director Marc Forster discusses his new film, A Man Called Otto, with fellow director Taylor Hackford in a Q&A at the DGA theater in Los Angeles. In the conversation, Forster speaks about how he uses storyboards in his directorial process, his collaboration with Tom Hanks, and his approach to editing flashbacks in the film. The film tells the story of Otto, a cantankerous grouch who's given up following the death of his wife. When a new family moves in nearby, he meets his match in Marisol, a quick-witted young woman who challenges him to see life differently, leading to an unlikely friendship that turns his world around. Please note: spoilers are included. See photos and a summary of this event below: https://www.dga.org/Events/2023/January2023/AManCalledOtto_QnA_1222.aspx

GRAMMY® Winning TrumpeterIn This Episode, To Get Us in a Happy Holiday Mood You Listened to  Black Girl Magic (feat. Badia Farha, Mumu Fresh & Nikki Grier) & Harlem Shake On "En Motion". Just a Couple Songs from Great New Music from Nabate Isles'.Nabaté Isles is a Grammy-winning trumpeter as well as a composer and producer, born and raised in New York City. Nabaté is releasing his second album called, En Motion, to be released on Ropeadope Records in the Fall of 2022. The album features the core lineup of Sam Barsh (also the album's producer), Eric Harland, Kaveh Rastegar, David Gilmore and Rachel Eckroth & guests include James Francies, Ben Wendel, Victor Provost, Sasha Berliner, Badia Farha. Added featured performers on the album are Mumu Fresh, Kardinal Offishall and Chuck D.Nabaté has performed, toured and/or recorded with unique artists Yasiin Bey (aka Mos Def), Christian McBride, Chuck D, Kenny Lattimore, Philip Bailey, Fantasia, Jeffrey Osborne, Jill Scott, Leslie Odom, Jr., Robert Glasper, Dianne Reeves, José James, Savion Glover, Gregory Porter, Freda Payne, Shareefa, Oliver Lake, Steve Coleman, Ravi Coltrane, Steve Wilson, Joey DeFrancesco, Muhal Richard Abrams, Matthew Shipp, Charli Persip, Mike Longo, Uri Caine, Buster Williams, Grady Tate, Jay Hoggard, Holt McCallany, the Mingus Big Band, and the José Limon Dance Company. He composed a solo double bass composition called 'Lessons', which was premiered by world-renowned double bassist James VanDemark at Louisiana State University. Nabaté also received two commissions from the Festival of New Trumpet Music to compose and premiere new compositions entitled, ‘We Need Unity in the Community' and 'Same Strife, Different Life'.Nabaté provided private trumpet instruction to the actor Rob Brown for his role as trumpeter Delmond Lambreaux on the HBO series, ‘Treme'. Nabaté was part of three Christian McBride Big Band's Grammy-winning albums, ‘The Good Feeling', ‘Bringin' It' and 'For Jimmy, Wes & Oliver' as well as the band's performance at the White House for the last concert under President Barack Obama's administration. He has composed five music scores for short films as well as contributing original music to Amos Poe's innovative film, ‘Empire II'. He recently completed a score for his first feature called, 'The Rhythm in Blue'. He recently co-released a record dedicated to the late, great thespian and humanitarian, Chadwick Boseman called, 'Super Hero: Ode to Chadwick Boseman' with Niles, featuring Beth Griffith-Manley. Nabaté Isles' broadcasting and production career is just as vast as his music career. He has covered a plethora of sporting events involving the NFL, NBA, MLB, NCAA Basketball, and world boxing championship prizefights. Nabaté co-hosted a SiriusXM boxing show, Going The Distance with the well-respected Teddy Atlas and Wally Matthews. He was featured and consulted with the ESPN 30-for-30 documentary short, '86-32'. Also, he was an accomplished producer for SiriusXM NBA Radio. As a sports trivia expert, he is the only person to Stump The Schwab on ESPN (Season 2) and be crowned a Sports Jeopardy champion (Season 1, Episode #8), on Crackle.com.  Now, he created and hosts his own podcast, 'Whe're They At', which profiles prominent retired athletes (https://linktr.ee/Whe_reTheyAt). The show has featured numerous Hall of Famers and luminaries like Chuck D, Dr. John Carlos, Chris Evert, Darrelle Revis, Warren Moon, David Robinson, Marshall Faulk, Tom Glavine, Larry Brown, Branford Marsalis, Taylor Hackford, to name a few.© 2022 All Rights Reserved© 2022 BuildingAbundantSuccess!!Join Me on ~ iHeart Media @ https://tinyurl.com/iHeartBASSpot Me on Spotify: https://tinyurl.com/yxuy23baAmazon Music ~ https://tinyurl.com/AmzBASAudacy:  https://tinyurl.com/BASAud

Bonus episode! This time, Ryan tries to figure out what the real love story is in An Officer And A Gentleman. Sure, Richard Gere and Debra Winger are hot for each other in this famously passionate boot camp movie, but what about the wild card in this love-fest...namely, Louis Gossett Jr? Okay, yes, the drill instructor is also a much-needed father figure to dreamboat Gere, even if the D.I. is one who will train, torture and karate-kick the future jet-flier, whether the tough guy is unforgettable or not. This remains a much-loved drama that's full of effective love-vs-war contrasts that director Taylor Hackford balances beautifully. And---40 years later---that finale still carries a lot of water...and also 1 factory worker. So let love lift you up as this one-man oral essay breaks down the many goods and the occasional bads in AAAAG.   Also, why not tweet us (@moviefiend51 and @bevellisellis) and/or email us (top100projectpodcast@gmail.com)

A Long Time Ago in a Cutting Room Far, Far Away provides a behind-the-scenes look at some of the most influential films of the last fifty years as seen through the eyes of Paul Hirsch, the Oscar-winning film editor who worked on such classics as George Lucas's Star Wars and The Empire Strikes Back, Brian De Palma's Carrie and Mission: Impossible, Herbert Ross's Footloose and Steel Magnolias, John Hughes's Ferris Bueller's Day Off and Planes, Trains & Automobiles, Joel Schumacher's Falling Down, and Taylor Hackford's Ray.Hirsch breaks down his career movie by movie, offering a riveting look at the decisions that went into creating some of cinema's most iconic scenes. He also provides behind-the-scenes insight into casting, directing, and scoring and intimate portraits of directors, producers, composers, and stars. Part film school primer, part paean to legendary filmmakers and professionals, this funny and insightful book will entertain and inform aficionados and casual moviegoers alike.Support this show http://supporter.acast.com/writers-on-film. Hosted on Acast. See acast.com/privacy for more information.

“It's my time now," Satan declares in the 1997 horror/drama Hollywood hit The Devil's Advocate, starring Al Pacino as the original boss from Hell. Now, at the film's 25th anniversary, has his time passed -– or has this become a truly timeless work?   SHOW LINKS LiveScience: Why Does the Devil Have Horns & Hooves?, Tom Metcalfe (2022) Publisher's Weekly: What I Learned From Bestselling Author Andrew Neiderman, Sari Feldman (2018) The Devil's Advocate, by Andrew Neiderman, Pocket Books (1997) History of Religions: The Devil at Law in the Middle Ages, Karl Shoemaker (2011) Forbes: That Time In The Middle Ages When The Devil Became A Lawyer, Matthew Gabriele (2018) LA Times: Jumping Into the Fire: In ‘Advocate,' Al Pacino takes a walk on the dark side. Luckily, he's no stranger to these mean streets, Jack Matthews (1997) NY Daily News: Eye on evil in 'Devil's Advocate,' Taylor Hackford takes Satan to Court, Denis Hamill (1997) ScreenRant: Charlize Theron Details Exhausting Method Acting On Devil's Advocate, Amy Halloran, (2022) NY Times: Sculpture In a Movie Leads to Suit, Gustave Niebuhur (1997)   GET IN TOUCH WITH BLACK MASS APPEAL Facebook Twitter Instagram Patreon Tabitha Slander's Instagram Discord server   SATANIC BAY AREA Website Facebook Twitter (as @SatanicSF) Instagram Sign up for Satanic Bay Area's newsletter On TikTok as DailyBaphirmations Coffee Hour is the third TUESDAY of every month from 6 – 8 pm at Wicked Grounds in San Francisco!

Joey celebrates the end of his cancer treatments and Alan celebrates passing his flight exam. Then they turn to director Taylor Hackford. In addition to helming the iconic feature hits, An Officer and a Gentleman (1982), Against All Odds (1984), Ray (2004), and the cult thriller The Devil's Advocate (1997), Taylor Hackford has directed the films Dolores Claiborne (1995), Everybody's All American (1988), and Proof of Life (2000). Taylor developed and produced La Bamba, the most successful Latin-themed feature film in history. Mr. Hackford has been an active member of the Directors Guild of America for over 40 years, including twice as elected President of the DGA, beginning in 2009. Learn more about your ad choices. Visit megaphone.fm/adchoices

Welcome to The Yellowstone Podcast!  Join Stef and Sheila each week as they discuss Paramount Network's hit series, Yellowstone. This week on The Yellowstone Podcast, Stef and Sheila are back to deep dive into Episode 2 of Season 5, "The Sting of Wisdom"!  Some of the Topics Discussed This Episode Include: What is going to with Rip and his next-level hostility towards everyone not named Dutton; where does Jamie's loyalty lie this season; can John be effective as Governor;  Dead Yellowstone Wolves; 1990s bunkhouse boy shenanigans; and So. Much. More! At the end of the episode, stay tuned for Sheila's interview with Thomas Rainwater himself, Gil Birmingham. Time Code for Start of Gil Birmingham Interview: 1:14:12 GUEST BIO:  Gil BirminghamAward-winning actor Gil Birmingham is known for his work in over 60 film and television productions. Birmingham costarred alongside Academy Award® nominee Jeremy Renner in Taylor Sheridan's critically acclaimed film "Wind River," receiving praise for his performance as Martin Hanson, a grieving father whose daughter has been murdered on the Wind River Reservation. Birmingham previously collaborated with Taylor Sheridan in the film "Hell or High Water," costarring opposite Academy Award®-winner Jeff Bridges as a team of Texas sheriffs hunting down bank-robbing brothers (Chris Pine and Ben Foster). The seamless chemistry between the two garnered Bridges a Best Supporting Actor nod, and Birmingham's powerful performance was highlighted by notable film reviewers. The movie was also nominated for Best Picture, Best Original Screenplay and Best Film Editing at the 2017 Academy Awards. Birmingham generated public acclaim for his portrayal of Billy Black in the blockbuster films "The Twilight Saga: New Moon," "Eclipse" and "Breaking Dawn," based on the best-selling books by Stephenie Meyer. He costarred in the film "Love Ranch" (2010) with Helen Mirren and Joe Pesci, directed by Taylor Hackford. Additionally, he voiced Wounded Bird in the Oscar-winning film "Rango" (2011). Other film credits include roles in "Shouting Secrets," "End of the Spear," "DreamKeeper," "Gentle Ben," "The Doe Boy," "Love's Long Journey," "Te Ata," "Crooked Arrows" and "The Lone Ranger" alongside Johnny Depp and Armie Hammer. On TV, Birmingham's powerful portrayal of Dog Star in Steven Spielberg's six-part TV miniseries "Into the West" captured the attention of audiences worldwide. Birmingham has guest-starred in several episodes of "Wilfred" alongside Elijah Wood, and he has been on "The Lying Game," "Castle," "The Mentalist," "Nip/Tuck" and "Veronica Mars." He was a recurring guest star on "Banshee" and "House of Cards" and "Unbreakable Kimmy Schmidt," playing Jane Krakowski's father. Additionally, he appeared on the mermaid drama "Siren" and had a recurring role on "Animal Kingdom." In addition to acting, Birmingham is an accomplished guitar player and singer and performs for fans in a variety of venues with his blues/rock style. ### Join in the conversation on Twitter at @podclubhouse and at our Facebook Group! Announcement: Love Yellowstone? Love the music? Check out Yellowstone Tunes - Pod Clubhouse Brings You Songs from Yellowstone, Stef and Sheila's curated Yellowstone Playlist of their favorite songs from the show and ones that are similar. We hope you enjoy! Listen, rate, review, and subscribe to The Yellowstone Podcast on Apple Podcasts, Spotify Podcasts, or wherever you listen! And write in and leave us comments on PodClubhouse.com, we'd love to hear from you! MORE IN THIS SERIES Season 1 Episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 Season 2 Episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 Season 3 Episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 Season 4 Episodes: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 Season 5 Episodes: 1 Sheila's Season 2 written recaps at PopCultureReview! FOLLOW THE HOSTS ONLINE Stef: Twitter | Instagram Sheila: PopCultureReview | Twitter ### Credits: Music:

Ian welcomes back Mike Crowley of You'll Probably Agree for a revelatory review of The Devil's Advocate!Taylor Hackford's supernatural legal thriller turns 25 this year, and the guys look at how it holds up as an example of the kind of star-fueled, big-budget studio product that made the late-90s special--as opposed to the IP-driven franchise freakshow that has all but killed this kind of picture in the modern era.Keanu Reeves stars as Kevin Lomax, a hotshot Florida attorney with a flawless record, who gets called up to the big leagues when a Manhattan mega-firm takes notice. Al Pacino plays lead partner John Milton, who sets Kevin to work right away on cases that test not only his skills but also his willingness to compromise his already dubious morals. Soon, Kevin is consumed by work; struggling to save his marriage (to Mary, played by Charlize Theron); and asking questions whose answers have (literally) apocalyptic consequences.In this spoilerific review, Ian and Mike rediscover a film that neither had taken too seriously until just this week--overlooking some questionable accents and scenery-chewing, and zeroing in on some rather meaty themes (both inherent and meta) that elevate The Devil's Advocate to more than just disposable popcorn entertainment!Show Links:Watch the Devil's Advocate trailer.Keep up with Mike Crowley's film criticism at You'll Probably Agree.Subscribe to, like, and comment on the Kicking the Seat YouTube channel!

Steve talks us through working on the Oscar winning film Monster with (Director) Patty Jenkins and Charlize Theron and what he learned from such a focussed and intense film set. How did that compare to working with Jon Favreau or Taylor Hackford? Listen as Steve tells us the difference for him between working on a big budget movie vs a smaller budget movie - which one gives him the most work satisfaction? Find out why writers don't always have to explain everything in an image, the importance of actors loving the material they are working with and how difficult it is to produce a film; something most people don't realize until they try to produce a film. Hear why a director should know about lighting, camera angles and every aspect of filmmaking. Learn about the importance of lighting and color in film and why working in digital is so different to working with film.  Why does Steven think that Dylan Thomas was the cinematographer of poetry? Why was Decoding Annie Parker such an important film and how did it change people's lives? Why is technology that supports art so good for artists and art? Don't miss this fantastic discussion about filmmaking to learn so much about the art of filmmaking. Steve Bernstein IMDB Instagram Facebook Linkedin Music is the difference between a good film and a great one. Music Songs included in this episode are: Lionel Bart – Happy Endings (from Abbey National UK advert) SYNC SESSION FEATURING: Vinx De'Jon Parrette - Kayce Armstrong - Ulysses Perez - Zo Duncan - Trent Cokley – Heather Ragnars Songs  Blue Sky Psalm by Aceskully Turn Up the Vibe by Zo Duncan Love Me & Don't Let Me Go by Trent Cokley 2 Sense  Music presents The Sync Report, where you will meet industry experts and top level songwriters as we pull the curtain back on music placement and scores, build vital relationships and provide real opportunities to our listeners. Listen to indie filmmakers present their latest productions and describe specific scenes as they consider music submitted by our audience. Please tell your friends about us, and remember to rate, comment, & subscribe to us on Apple Podcasts and across all platforms.  And find us at The Sync Report here TSR Website  Facebook  Instagram Twitter Youtube Linkedin Tik Tok  The Sync Report podcast is:   Hosted By: Colin O'Donoghue - Rose Ganguzza - Jason P. Rothberg Featuring: Kevin Sharpley - Paula Flack and Willow - Heather Ragnars Produced By: Jason P. Rothberg - Paula Flack - Robert Cappadona - Kevin Sharpley Executive Producers: Colin O'Donoghue - Rose Ganguzza - Jason P. Rothberg - Kevin Sharpley - Gianfranco Bianchi - Dean Lyon Writers: Jason P. Rothberg - Lisa Dunn - Paula Flack Editors: Jason P. Rothberg - Milfredo Seven - Paula Flack - Edgar “Edge” Camey - Adam McNamara Marketing Director: Paula Flack Music Supervisors: Phill Mason Music Department: Heather Ragnars - Lisa Dunn Foley: Phill Mason Research: Lisa Dunn Art Director: Gianfranco Bianchi Graphic Design: Jodylynn Talevi College Programs: Dr Stacy Montgomery College interns: Angela Nicastro – Drift – Princess Arga – Sean Jeon

The one and only Tamara Tunie joins me in The Locher Room to discuss her upcoming starring role in A Journal for Jordan directed by Denzel Washington opening on Christmas Day. Ms. Tunie is also set to narrate a documentary about the domestic assault on the Capitol complex. Preserving Democracy: Pursuing a More Perfect Union is a two-hour doc, which will air on January 6, 2022 on PBS. The doc will examine the pursuit of democracy, within the U.S. and others, on the anniversary of the 2021 Capitol riot. She can currently be seen in Netflix's Cowboy Bebop.Ms. Tunie has starred for 18 seasons as Medical Examiner Dr. Melinda Warner in Wolf Films/Universal Media Studio's top-rated series “Law & Order: Special Victims Unit.” She starred as Marie Van Der Veen, the matriarch and the “moral fiber” of a Native American tribe, on Sundance TV's THE RED ROAD. The role is a marked departure from the sophisticated and powerful women she is known for portraying. Ms. Tunie, also, starred in AMC's series DIETLAND and the BBC/Netflix political drama Black Earth Rising. Ms. Tunie has had other memorable roles on television, most notably as the longstanding character Jessica Griffin on the CBS Daytime Drama “As The World Turns,” for which she received two NAACP Image Award nominations and two Soap Opera Digest award nominations. She also appeared in the highly visible role of Alberta Green in Season One of the hit series “24”, as well as recurring roles and guest appearances on “Almost Family” “Emergence”, “Better Call Saul”, “Blue Bloods���, “Billions”, “Alpha House”, “Elementary” “Survivor's Remorse”, “Zoo”, "The Good Wife”, “Law and Order,” “Sex and the City,” and “NYPD Blue”, to name a handful.In film, Ms. Tunie worked with legendary director Robert Zemekis, opposite Denzel Washington in “FLIGHT”, and has worked with several other of the most respected directors of the screen, including Taylor Hackford, Brian De Palma, Mimi Leder, Harold Becker and Oliver Stone. She had the unique opportunity to work with the legendary Al Pacino twice; she portrayed the possessed wife of a partner in his law firm in the hit film “The Devil's Advocate,” and his press secretary in “City Hall.” She also worked with famed director Kasi Lemmons and Samuel L. Jackson on both “Eve's Bayou” and “The Caveman's Valentine.” Ms. Tunie was also featured in some wonderful “Indies”, like “Irreplaceable You”, “Fall to Rise” and “Bad Vegan”.Ms. Tunie is a founding member of Black Theatre United.Original Airdate: 12/17/2021

A movie about how fabulously nice it would be if somebody came and picked you up at work. Literally. This one was sadder than we expected, but Richard Gere looks great in those dress whites! Music credits: “Typewriter Blues,” by AllenGrey Special thanks to Baby Bee Carys for the theme music! Subscribe to our Patreon at Patreon.com/BSCCPodcast and support the show at Bit.ly/RattlesnakeJake! Advertise on The Baby-Sitters Club Club via Gumball.fm --- Support this podcast: https://anchor.fm/jack-shepherd8/support

After winning the MOTM poll by a phenomenal margin, Roger Wistar of the Roadhouse Minute Podcast, leads a group of first time watchers through a discussion of the Russell Crowe, Meg Ryan Drama, directed by Taylor Hackford and written by Tony Gilroy. Will Roger make us converts? You have to listen to find out. 

This episode we close out the Summer Cinema of Sin series with The Devil's Advocate (1997), starring Al Pacino, Keanu Reeves, and Charlize Theron, directed by Taylor Hackford.

The bros find out they're bound by honor in this week's episode about the 1993 film, Blood In Blood Out. Written by Jimmy Santiago Baca, Jeremy Iacone, and Floyd Mutrux and Directed by Taylor Hackford. Instagram: https://www.instagram.com/thefilmbrospodcast Youtube: https://www.youtube.com/channel/UC4g9YbMBwRIKzDTV4uXt5Eg The bros Letterboxd's: @_isaiahlucas @lilabey @NickGowinPlaces

Designing Hollywood & John Campea Presents!!! Award Winning Costume Designer Shay Cunliffe  Shay is best known for her designs in:  • Peacemaker (2022) 5 Episodes  • We're The Millers (2013) • The Bourne Legacy (2012) • The Bourne Ultimatum (2007) • 2012 (2019) • The Family Stone (2005) • Because I Said So (2007) Shay CunLiffe is an internationally recognized and prolific costume designer, Cunliffe most recently designed James Foley's 50 Shades Darker and the upcoming 50 Shades Freed. Other credits include Billy Ray's English language remake of the Argentinian Academy Award-winning film The Secret in Their Eyes, Lasse Hallström's A Dog's Purpose, and the comedy Get Hard, starring Will Ferrell and Kevin Hart. Earlier credits include The Bourne Legacy, directed by Tony Gilroy–the Jeremy Renner-starring sequel to The Bourne Ultimatum, directed by Paul Greengrass, for which she also designed the costumes. She has worked with an array of distinguished filmmakers, such as James L. Brooks, John Sayles, Gary Sinise, Taylor Hackford, Rob Reiner, Harold Ramis, Steve Zaillian, Brad Silberling, Amy Heckerling, David Mamet, Tarsem Singh, and Ken Kwapis. Cunliffe tapped into her musical theater roots when she teamed with Rob Marshall on the television movie version of Annie, for which she won a Costume Designers Guild Award and received an Emmy  nomination.

Max Silvestri (Human Resources, @maxsilvestri) joins Kevin and Caroline to talk about The Devil's Advocate a 1997 American supernatural horror film directed by Taylor Hackford. Subscribe to our Patreon to get a weekly 2nd Service episode and become a "Patreon saint" :)  GCF - Second Service Patreon! CHARITY: This month we're matching iTunes reviews with donations to RAINN! See omnystudio.com/listener for privacy information.