Podcast appearances and mentions of Terry Kiser

The multi-faceted aesthete & artiste known as Justin Warfield (She Wants Revenge, Warfield, One Ince Punch, guest vocals on tracks from Placebo, Bomb The Bass and several appearances on Saved By The Bell) joins me for what was going to be all about the cult classic SURF II, but we had a whole lot to say about a whole lotta other things. And that hat includes a LOT of movies, Los Angeles legends and more.Born and raised in Los Angeles, Justin has been plugged into all LA magic since birth. Video stores, bands, films and so much more.As for SURF II? Well, there's no SURF 1, the poster tagline is "The End Of The Trilogy" and this is the movie that gave the world BUZZ Cola. That explains it pretty clearly, no? Out-of-print for decades, you can now see it in HD splendor thanks to the fine folks at Vinegar Syndrome Written & Directed by Randall Badat, Starring Eddie Deezen, Corinne Bohrer, Eric Stoltz, Ron Palillo, Tom Villard, Cleavon Little, Ruth Buzzi, Terry Kiser, Linda Kerridge, Lucinda Dooling and Lyle Waggoner,.Find more of everything Justin at his website Join the Craig & Friends PatreonJustin on Instagram Craig & Friends Linktree - subscibe now on YouTube

The Grimoire of Familiar Killers is back for another season, and things are messier than ever!

Denise Richards (Starship Troopers) and Paul Walker (kind of), star in this not remotely an action film about a brain transplant and an animatronic dinosaur. A masterclass in DIY filmmaking, and how to best use props you have access to. OH! And it has Bernie in it from Weekend at Bernie's! (And that guy from the A. Burr/Milk ad! - Matt's excited about this...)DISCLAIMER: Language and Spoilers!!TAMMY AND THE T-REX (aka TANNY AND THE TEENAGE T-REX)dir. Stewart Raffillstarring: Denise Richards; Paul Walker; Terry Kiser

In this episode, listen in as we review Friday the 13th Part VII: The New Blood a 1988 American supernatural slasher film directed by John Carl Buechler and starring Lar Park Lincoln, Kevin Blair, Susan Blu, Terry Kiser, and Kane Hodder in his first appearance as Jason Voorhees, Show is recorded at Grand Forks Best Source. For studio information, visit www.gfbestsource.com Icky Ichabod's Weird Cinema & Wrestling now has a website for easy access to all past Weird Cinema/Wrestling episodes and has links to subscribe to just Weird Cinema/Wrestling off your favorite podcast/streaming audio apps, check it out at - https://weirdcinema.podbean.com/ #movies #moviereview #classicmovies #grandforksbestsource

A montage for the ages as Tommy Olson wins his Initials Tournament first-round game. Terry Kiser was in studio and everyone loved him. And don't look now, but football is back, baby!

Terry Kiser, who played Bernie on Weekend at Bernie's is in studio and talks about his incredible career in the film industry

The guys talk Weekend at Bernie's ahead of the big Terry Kiser interview in hour three, Hawk has some music industry news

The guys talk Weekend at Bernie's ahead of the big Terry Kiser interview in hour three, Hawk has some music industry news

Terry Kiser, who played Bernie on Weekend at Bernie's is in studio and talks about his incredible career in the film industry

Terry Kiser, who played Bernie on Weekend at Bernie's is in studio and talks about his incredible career in the film industry

The guys talk Weekend at Bernie's ahead of the big Terry Kiser interview in hour three, Hawk has some music industry news

Follow the homies Cam (Cameron Cox) and Dylan (Dylan Hernandez) two former AMC Theater employees as they take a nostalgic trip back in time to rewatch films that mean the most to them! The film we are discussing in this Season 2 Episode is "Tammy and the T-Rex" With Special Guest Grace Lovera from Horror Fashion Review!!!!! Tammy and the T-Rex is a 1994 American science fiction comedy film directed by Stewart Raffill and written by Raffill and Gary Brockette. The film, which stars Terry Kiser, Ellen Dubin, Denise Richards, Paul Walker, George Pilgrim, and John Franklin, centers around a high school student named Tammy, whose boyfriend Michael has his brain implanted in the body of a robotic Tyrannosaurus rex by a mad scientist. Now in the Famous words of that Pig from Shrek "Play the movie.. Yeah PLAY Grace's Socials!! Website: https://horrorfashionreview.com/ Instagram: https://www.instagram.com/horrorfashionreview?igsh=aDFxdHVqcTlrMmxj Wanna ask us something?!? Hit us up at Xtrabutta@gmail.com or our Instagram https://instagram.com/xtrabuttapodcast?igshid=YmMyMTA2M2Y= Also, from the minds of Xtra Butta check out the new podcast "Talk No Jutsu" featuring Dylan Hernandez and Steven Garcia! https://podcasts.apple.com/us/podcast/talk-no-jutsu-podcast/id1729297916?i=1000652395009

What if your boyfriend's brain got transplanted into a robotic dinosaur? Mike and Jesse discuss the 1994 sci-fi comedy Tammy and the T-Rex. Starring Denise Richards, Paul Walker, Terry Kiser and Ellen Dubin! Leave us a message at https://speakpipe.com/cdfpod Get your CDF Pod merch at https://cdfpodmerch.com Our theme music was composed by CollinDomo AKA Chunky Krill. Find more of his work at soundcloud.com/chunky-krill Facebook: facebook.com/cdfpod Instagram: instagram.com/cdfpod/

How does a movie starring Paul Walker, Denise Richards and even Terry Kiser fail? That's a good question. In this episode Pat and Will dig deep into how the EHDS drowned this movie from the start

0:00 - Intro & Summary2:00 - Movie Discussion41:05 - Cast & Crew45:55  - Pop Culture53:49 -  Rankings & Ratings To see a full list of movies we will be watching and shows notes, please follow our website: https://www.1991movierewind.com/Follow us!https://linktr.ee/1991movierewind Theme: "sunrise-cardio," Jeremy Dinegan (via Storyblocks)Don't forget to rate/review/subscribe/tell your friends to listen to us!

Peter Anthony and Jason Brooks join Casey & Ray to talk about Vengeance 2: Bloodlines, Jason's involvement with Kody Newtons METAL KINGDOM and they also talk about Peter's upcoming project with Terry Kiser, LAUGH!  All this and so much more. https://www.thepeteranthony.com/https://www.instagram.com/Thepeteranthonyhttps://www.indiegogo.com/projects/laugh-the-major-motion-picture-pre-production/x/26217771#/https://www.youtube.com/watch?v=Mgr16hz74r8https://www.tiktok.com/@therealpeteranthonyhttps://www.youtube.com/channel/UC95aiuqqdT9ngacZhAyUtMAhttps://www.realfictionstudios.com/https://www.facebook.com/RF.studios.propshttps://www.instagram.com/realfictionstudiosfxThe Sitcom StudyFinding the truth and wisdom amidst the tropes and clichésListen on: Apple Podcasts SpotifySupport the showRATE or REVIEW https://ratethispodcast.com/deluxeditionpod-------------------------------------------------------------------https://www.deluxeedition.show----------------------------------------------------------------------BOOTLEG MERCHhttps://www.teepublic.com/t-shirt/37221930-deluxe-edition-bootleg?store_id=1684087----------------------------------------------------------------------------https://www.instagram.com/deluxeditionpod---------------------------------------------------------------------------Check out The Deluxe Edition Network:https://www.deluxeeditionnetwork.com----------------------------------------------------------------------------https://whatamaneuver.net/collections/deluxe-edition-----------------------------------------------------------------------------CASEYANDRAY20 for 20% off!https://www.bespokepost.com----------------------------------------------------------------------------DELUXE20 for 20% off!...

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.

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.

Doctrette of Horror is back with another horror pick! Old Tomato Face cohosts Bad For Me, and the song at the beginning is from the Fly Fly Triceratops Band!

It's late August and time to visit your thieving labor day savior, Bernie. I'm a late comer to this punchline classic, but I'll be making it an annual destination in my end of summer movie rotation. I need to make up for lost time and atone for willfully avoiding this movie all these years. The irony in Terry Kiser being lauded for his mastery of physical comedy while playing a dead man is not lost on me. Neither is Andrew McCarthy seamlessly playing against type while Jonathon Silverman turns in a walk-on leading role. And our video game heroine from 1984's Night Of The Comet, Catherine Mary Stewart, bringing a just little heart to this dark comedy. It's too much and everything all at once. I feel like Christopher Columbus, just here taking the excited credit for an already discovered new world...to me. 

With Weltall's impending trip to the land of the rising sun which illuminates the tentacle porn, we figured a movie about Japan would be just right. It's from the eighties if that helps and isn't a comedy. It's also not weekend at Bernie's though that's been requested over seven hundred times. We figure that's an outlier from a rabid Terry Kiser fan. If you're reading this, Gerald, we'll get to it if and when we choose. We have Black Rain(1989). Directed by Ridley Scott, starring Michael Douglas and Andy Garcia. Douglas and Garcia play detectives who arrest a member of the Yakuza and escort him back to Japan. He escapes … Continue reading "Popcorn Pulse 197: Quiet Rain"

With Weltall's impending trip to the land of the rising sun which illuminates the tentacle porn, we figured a movie about Japan would be just right. It's from the eighties if that helps and isn't a comedy. It's also not weekend at Bernie's though that's been requested over seven hundred times. We figure that's an outlier from a rabid Terry Kiser fan. If you're reading this, Gerald, we'll get to it if and when we choose. We have Black Rain(1989). Directed by Ridley Scott, starring Michael Douglas and Andy Garcia. Douglas and Garcia play detectives who arrest a member of the Yakuza and escort him back to Japan. He escapes … Continue reading "Popcorn Pulse 197: Quiet Rain"

FU Podcast - E162 - March 21, 2023 - Dennis O'Neill • Award-winning writer, producer, and director • First project, Bail Out, earned over thirty statuette awards • Directed actors such as Terry Kiser, Nellie Sciutto, Jim Blumetti, Marshall Teague, and Joe D'Onofrio • Started his career as a singer and ballroom dancer before becoming a legitimate card-holding actor in the Screen Actors Guild • Worked in over thirty musical and dramatic stage plays • Acted in film and TV with Michael Meyers, Chuck Norris, Robert De Niro, Joe Pesci, Sylvester Stallone, Walter Matthau, Betty David, Sir John Gielgud, Liza Minnelli, Frank Sinatra, and Robin Williams (as Robins stunt double) • Worked with famous directors such as Martin Scorsese, John Huston, and Paul Mazursky • Received two college degrees, an Associate of Fine Arts and a Bachelor of Fine Arts with honors (Cum Laude), in theater performance • Opened his private acting school in 1999 to help other actors succeed • His students are part of his ensemble cast in everything he creates Your Hosts: Patrick Martin Andy Henning Special Guest: Dennis ONeill To Donate to the Show: https://paypal.me/FUPodcast Find Us On: Facebook: Frustration.Unlimited.Podcast Twitter: FrustrationU Instagram: Frustration_Unlimited Youtube: https://dge.dgemedia.com/FU-Podcast Twitch: FU_Podcast Patreon: FUPodcast Listen to ALL of our shows on: Amazon Alexa: https://dge.dgemedia.com/FU-Amazon Apple iTunes: https://dge.dgemedia.com/FU-Apple Spotify: https://dge.dgemedia.com/FU-Spotify iHeartMedia: https://dge.dgemedia.com/FU-iHeart Google: https://dge.dgemedia.com/FU-Google Stitcher: https://dge.dgemedia.com/FU-Stitcher Breaker: https://dge.dgemedia.com/FU-Breaker Castbox: https://dge.dgemedia.com/FU-Castbox Anchor: https://dge.dgemedia.com/FU-Anchor Audible: https://dge.dgemedia.com/FU-Audible Radio Public: https://dge.dgemedia.com/FU-Radio Pocket Cast: https://dge.dgemedia.com/FU-Pocket Podchaser: https://dge.dgemedia.com/FU-Podchaser Listen Notes: https://dge.dgemedia.com/FU-Listen Castro: https://dge.dgemedia.com/FU-Castro Podcast Addict: https://dge.dgemedia.com/FU-Addict Player FM: https://dge.dgemedia.com/FU-Player Listen App: https://dge.dgemedia.com/FU-ListenApp Coming from the great state of TEXAS!!! This Podcast Is For The People, By The People Who Are Frustrated With All The Issues Going On In The World… Come join us, unlike any other podcast we interact with viewers/listeners. Feel free to contact us via email and we will definitely get back to you within 24 hrs. PROMISE! Music in Intro By: Licensor's Author Username: RocknStock Licensee: Patrick Martin Item Title: Action Rock Trailer Item URL: https://audiojungle.net/.../epic-styl... Item ID: 22777353 Item Purchase Code: 671440a5-ef44-4f65-9121-139285c7e024 Purchase Date: 2021-03-12 03:26:34 UTC #FUPodcast, #FrustrationUnlimited, #podcast, #podcasting, #spotify, #podcasts, #podcastlife, #podcaster, #youtube, #comedy, #itunes, #podcasters, #applepodcasts, #podcastshow, #interview, #newpodcast, #spotifypodcast, #applepodcast, #repost, #soundcloud, #radioshow, #dgemedia, #life, #follow, #movies, #funny, #live, #instagram, #film, #podcastlove, #media, #podcastinglife, #podcastaddict, #podcasthost, #coronavirus, #news, #FrustrationUnlimited, #DevinGEwart, #WPatrickMartin, #like4like, #followme, #likeforlike, #follow4follow, #followforfollow, #l4l, #f4f, #lifestyle --- Support this podcast: https://podcasters.spotify.com/pod/show/frustration-unlimited/support

Why was there a PG-13 family friendly version and a gore cut? How did this bizarre and hilarious cult classic stay hidden for so long?Tammy and the T-Rex trailer:https://youtu.be/3XsQD7I3KYADead Harvey links:YouTube:@deadharveyInstagram:https://www.instagram.com/dead_harvey/Facebook:https://www.facebook.com/deadharveyIntro and outro music by Tony Longworth.*Indie filmmakers: visit this website for free music for your projects: http://tonylongworth.com/freemusic/.

Jason Voorhees! Telekinesis! Terry Kiser! The ReconCinemation team unites to look back at the next chapter in the Friday series: FRIDAY THE 13TH PART VII: THE NEW BLOOD! Jon, David & Brent deep-dive into what happened with the 7th installment into this beloved franchise. From the hiring of John Carl Buechler, the rebirth of Jason Voorhees with the casting of the amazing Kane Hodder, the MPAA's butchering of the film, creating Carrie vs Jason & so much more! Plus, early memories of the film, the brilliance of Terry Kiser, how the film holds up today & more! Jason is back, but this time someone's podcasting... it's FRIDAY THE 13TH PART VII: THE NEW BLOOD!   Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

Dos jóvenes empleados de una compañía de seguros, Larry y Richard, se van a la costa a pasar tranquilamente el primer lunes de septiembre, el Día del Trabajo. Larry y Richard se han comportado como empleados modélicos, y han descubierto un importante plan en el que se pensaba realizar un importante desfalco en la empresa donde trabajan. El director de la compañía, Bernie Lomax, les recompensa invitándoles a una casa que posee en Hampton, una zona muy lujosa de la costa de Long Island. Bernie sería el anfitrión ideal... si no fuera por un pequeño detalle. Dirección Ted Kotcheff Guion Robert Klane Música Andy Summers Fotografía François Protat Reparto Andrew McCarthy, Jonathan Silverman, Catherine Mary Stewart, Terry Kiser, Don Calfa, Catherine Parks, Louis Giambalvo, Ted Kotcheff

On this edition of GFA Live, Peter and Keithie talk about WWF Superstars from September 3, 1988! (and some other stuff, of course!) Topics of discussion include: * Brutus Beefcake butting his nose into Ron Bass' business unprovoked * Dealing with title changes yet to happen on TV tapings * Frenchy Martin as the Terry Kiser of the WWF * In praise of...Joe Cruz(!) * Hulk Hogan and his brand new batting helmet * Honky Tonk Man lays in a guitar shot on the Warrior * Dino Bravo as a French-Canadian Brock Lesnar * Guessing on the Rick Rude pre-match promo insult * How the transformation of the One Man Gang was set up Lineup: - Powers of Pain vs Pete Sanchez & Al Kirkland - Update: Whatever happened there between Brutus Beefcake and Ron Bass - Dino Bravo vs Don Driggers - Event Center promos: Ron Bass, Jake Roberts - Jim Duggan vs Joe Cruz - Bad News Brown vs Neal Rodgers - Event Center promo: Hulk Hogan - Rick Rude vs Reno Riggins - Platform interview: Ultimate Warrior - The One Man Gang vs Tommy Angel - Paul Roma vs Barry Horowitz - Event Center promos: Bolsheviks with Slick, Rick Rude Email: Greetingsfromallentown@gmail.com Twitter: www.twitter.com/GFAllentownPod

Welcome to the Juras-Sick Park-Cast podcast, the Jurassic Park podcast about Michael Crichton's 1990 novel Jurassic Park, and also not about that, too.  Find the episode webpage at: Episode 25 - Version 4.4  In this episode, my terrific guest Kristoph Ochs returns to chat with me about:   COVID-19, extending sequels beyond their limits, SNALE, the new album, making music videos, the Shrek 2 Soundtrack, naming your kids, song title origins, geek rock, Cat in the Brain, Atom Age Vampire, creative restrictions, The Chronicles of Riddick, Tammy and the T-Rex, synopsis, charades, Denise Richards, Bernie Lomax, Paul Walker, Ellen Dubin, Terry Kiser, Sean Whalen, John Franklin, Stephen Segal, and when the next SNALE album will be out!   Plus dinosaur news about: "Osteology of Deinonychus antirrhopus, an unusual theropod from the Lower Cretaceous of Montana".  (1969) Nesting at extreme polar latitudes by non-avian dinosaurs Featuring the music of Snale https://snalerock.bandcamp.com/releases  Intro: T-Shirts.  Outro: Death of a Dream. The Text: This week's text is Version 4.4, spanning from pages 120 - 126.  Synopsis: Wu approaches Hammond to discuss restocking the park with Version 4.4. The dinosaurs are too fast, but he thinks he could tweak them so they meet the visitor's expectations, but Hammond isn't listening anymore, and dismisses him.  Discussions surround: The Dinosaurs, Re-create versus reconstruction, Park Management, and the Timeline.  Corrections: Side effects:  May cause you to enter into the Santa Clause, forcibly ripping you from your family to perform the ungodly actions of Santa Claus - That's karma: you should never have killed Santa! Find it on iTunes, on Spotify (click here!) or on Podbean (click here). Thank you! The Jura-Sick Park-cast is a part of the Spring Chickens banner of amateur intellectual properties including the Spring Chickens funny pages, Tomb of the Undead graphic novel, the Second Lapse graphic novelettes, The Infantry, and the worst of it all, the King St. Capers. You can find links to all that baggage in the show notes, or by visiting the schickens.blogpost.com or finding us on Facebook, at Facebook.com/SpringChickenCapers or me, I'm on twitter at @RogersRyan22 or email me at ryansrogers-at-gmail.com.  Thank you, dearly, for tuning in to the Juras-Sick Park-Cast, the Jurassic Park podcast where we talk about the novel Jurassic Park, and also not that, too. Until next time!  #JurassicPark #MichaelCrichton

Mark & William have a super sonic flashback after watching too much Weekend at Bernies. They also share their favorite Hollywood eats and their comprehensive guide to working those eats off! You may also hear irrelevant things in this episode about Andrew McCarthy, Jonathan Silverman, Cafe 50's, Crossroads, Bob's Big Boy, kiddie pools, Kenny G, and Terry Kiser's twerking. 

Remember everyone's favorite dead boss Bernie from the 1989 classic "Weekend at Bernie's"? Who played dead better than Terry Kiser?

We're getting out of the city for a few days with our friends Larry (Andrew McCarthy) and Richard (Jonathan Silverman) to join the boss Bernie's (Terry Kiser) floating beach party! Join us for a wacky posthumous romp on the beach for Weekend at Bernie's. Follow us on Instagram @doomgenerationpod and Twitter @doomgenpod Join our Patreon at patreon.com/doomgeneration for rad merch and bonus audio clips Check out masfuntv.com to thank them for sponsoring this ad-free episode! --- Send in a voice message: https://anchor.fm/doomgeneration/message

This week, we discuss "Mannequin 2: On the Move", which is honestly one of the best sequels we've covered this year. This movie has the perfect 80s/90s feel to it and a great cast that has a young Kristy Swanson, William Ragsdale, Stuart Pankin, Meshach Taylor,, and Terry Kiser absolutely CRUSHING IT! Does this movie have plot holes? Yes, it's like swiss cheese, but it doesn't even matter because it is still hilarious. We discuss kissing mannequins, sexy vs sporty perfume, broadway shows put on by a department store, the german Three Stooges, and more. This is a video review you can watch at sequelsonly.com/Mannequin2 Next up is our review "Escape from LA" where we discuss a movie where basketball can be life or death and that's not a metaphor. Follow us on all social media @sequelsonly and our website is sequelsonly.com Review, rate, and share us with your friends, enemies, neighbors, exes, and even that annoying supermarket clerk! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Bernie, boys, and babies! The Book Squad husbands join us as we finally discuss the 1989 film masterpiece* "Weekend at Bernie's." We talk about the movie's cult status, how the comedy works and doesn't work, and why Terry Kiser deserves a shelf full of awards for his performance as a dead guy. Then it's baby shower time! Susan and Justin open gifts for their baby-to-be and oooh and ahhh over all the cute things. Read along for our next Bookpisode about "Sundial" by Catriona Ward on May 16th. Then join us and special guest Susie Dumond, author of "Queerly Beloved," for a discussion of her book, plus "I Kissed Shara Wheeler" by Casey MicQuiston on May 30th. Don't forget to rate, review, and subscribe to us on Apple Podcasts or the podcast app of your choice!*Susan wrote this descriptionTOC::30 – Welcome, men! And icebreaker15:34 – "Weekend at Bernie's" intro18:24 – Critical acclaim and cult classics37:40 – Stuff that didn't age well48:30 – What works1:03:58 – Is this movie saying something deep?1:13:30 – Let's go ahead and rate it1:16:45 – Presents time!1:27:44 – What's on the blog? What's up next?

Exchanging adults for adolescents, Mike and Dino explore the suburbs and cityscapes of youth in I Eat Movies #20: In No Sense - Rich Kids (1979) / Kenny & Company (1976). Produced by Robert Altman and, in a rare move, headlined by its young newcomers, Rich Kids finds two friends bonding over the shattered realities of their broken homes. Naturalistic and as humorous as it can be heavy, cohosts Dino and Mike rave about Terry Kiser's groovy man cave, the flawlessness of John Lithgow and some very questionable pizza. Later, Don Coscarelli's most personal film rushes over us with waves of nostalgia that recalls simpler times. Dreamlike, sweet and funny as hell, Mike also paints a frightening (and in retrospect, hilarious) portrait of a ding-donging nightmare come true from his younger years. A parent's permission isn't required for listening but, maybe do it anyways for old time sake's as you tune into I Eat Movies #20: In No Sense - Rich Kids (1979) / Kenny & Company (1976). And no, this was not recorded in Westport!

A scumbag and a pathological liar try to con a bunch of rich people into believing that some guy isn't dead even though nobody cares and there's no point to anything that happens. Meanwhile a hitman slowly goes insane.  Tara explains about washing hair and Adam reads a review from someone who think he knows how to make the movie better 

Never Hike Alone and Never Hike In The Snow are the best FT13th fan films out there as far as I'm concerned... So anytime a new one pops up, they automatically have to be on par with those or better, but there was something special that drew me to this one. And that was the return of Lar Lark Lincoln as Tina, the return of Terry Kiser as Dr. Crews, and the look they kept and captured of our favorite campground slasher, Jason Voorhees. This is one ballsy fan film, and that's all I'll say. By the way,, if I slipped up and said "Rose Red" at some point, my apologies. Enjoy, y'all.

In this show, the only end zone you'll find yourself caring about is the end credits.“The Mystery of the Solid Gold Kicker” aired May 22, 1977, as the fourteenth episode of the first season of The Hardy Boys/Nancy Drew Mysteries. This episode featured Pamela Sue Martin as Nancy Drew, along with William Schallert, Jean Rasey, Michael Pataki, Martin Kove, Terry Kiser, and Jillian Kesner. Oh, and abrasive sports journalist Howard Cosell as himself and TV's Mark Harmon as the titular gold kicker.In this episode, Nancy Drew runs interference for her friend George Fayne, after the latter witnesses an apparent murder implicating the star kicker of a college football team. But the episode muffs the punt when it starts trying to run with an overly-convoluted, yawn-worthy plot. Listen to your hosts call an audible on The Price Is Right, law school, Kevin's dream of the six-day weekend, and Áine's filthy, perverted mind. Follow us on the usual social media suspects:FacebookTwitterInstagramThrow your penalty flags at mysterytomepodcast@gmail.com.Mystery to Me is a production of Mystery Sheet LLC.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Peter Anthony's script for a direct sequel to “Friday the 13th Part VII: The New Blood” not only impressed original heroine, Lar Park Lincoln, but convinced additional Pt 7 stars, Terry Kiser and Kevin Spirtas, to return for this fan film. Tune in to hear all about “Rose Blood” leading up to its release and reflect on “F13 Pt 7” with its leading man.

It talked to comedian Sean Keane about Bernie Night, a Weekend at Bernie's II themed Oakland A's event that took place in 2012. We also talked about Terry Kiser's IMDB page (he played Bernie), the ballsiness of a Weekend at Bernie's sequel, voodoo, hip hop's apparent love for the film, organic marketing, $2 tickets, Salisbury Steak, bunting in a no-hitter, remembering some guys, off-field injuries, the 2021 Giants, and making Weekend at Bernie's III. Sean: twitter.com/seankeane Justin: twitter.com/routinelayup Terry Kiser's first pitch: https://www.youtube.com/watch?v=lf8sH1Y0-70 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

It talked to comedian Sean Keane about Bernie Night, a Weekend at Bernie's II themed Oakland A's event that took place in 2012. We also talked about Terry Kiser's IMDB page (he played Bernie), the ballsiness of a Weekend at Bernie's sequel, voodoo, hip hop's apparent love for the film, organic marketing, $2 tickets, Salisbury Steak, bunting in a no-hitter, remembering some guys, off-field injuries, the 2021 Giants, and making Weekend at Bernie's III. Sean: twitter.com/seankeane Justin: twitter.com/routinelayup Terry Kiser's first pitch: https://www.youtube.com/watch?v=lf8sH1Y0-70 --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

Scotty is back with yet another episode of Slasher Scotty and his guest is Lar Park Lincoln, who played Tina Shepard, the final girl in Friday the 13th Part 7: The New Blood. Lar discusses with Scotty the troubles of filming Friday the 13th Part 7: The New Blood due to an overpopulation of alligators and rattlesnakes in the swamplands of Alabama, if she knew Friday the 13th Part 7: The New Blood was a Friday the 13th film despite it going under the name of Birthday Bash, if Susan Jennifer Sullivan, who played Melissa, is still alive or if she passed due to conflicting rumors, what it is like reprising her role as Tina Shepard and working with Terry Kiser all these years later in Rose Blood: A Friday the 13th Fan Film, and much, much more. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/slasherscotty/support

We've got a spooky anthology horror to talk about this week! From a Whisper to a Scream, sometimes known as The Offspring, was released September 4th in 1987. It contains four dark and twisted tales, each set in a small American town. Is one of them just Children of the Corn again? Yes, one of them is. Join the Bad Porridge Club on Patreon for TWO bonus episodes each month! https://www.patreon.com/oldiebutagoodiepod Follow the show! Instagram: https://www.instagram.com/oldiebutagoodiepod/  Facebook: https://fb.me/oldiebutagoodiepod Youtube: https://www.youtube.com/channel/UCjfdXHxK_rIUsOEoFSx-hGA  Podcast Platforms: https://linktr.ee/oldiebutagoodiepod  Got feedback? Send us an email at oldiebutagoodiepod@gmail.com Follow the hosts! Sandro Falce - Instagram: https://www.instagram.com/sandrofalce/ - Twitter: https://twitter.com/sandrofalce - Letterboxd: https://letterboxd.com/SandroFalce/ - Nerd-Out Podcast: https://anchor.fm/nerd-out-podcast  Zach Adams - Instagram: https://www.instagram.com/zach4dams/ Donations: https://paypal.me/oldiebutagoodiepod Please do not feel like you have to contribute anything but any donations are greatly appreciated! See omnystudio.com/listener for privacy information.

Andrew McCarthy August comes to an epic conclusion with one of the greatest gifts in cinema history!  That's right, the boys at ReconCinemation are looking back at 1989's WEEKEND AT BERNIE'S!  Join Jon, David & Brent as they deep-dive into this screwball comedy from cinema's greatest decade!  Where this one falls in the pantheon of Mr. McCarthy's career, the excellent casting choice of Jonathan Silverman, the brilliance of Terry Kiser, how this made it from script to screen, the battle between light vs dark comedy & more!  Plus, early memories of the film, where this stood at the box office, how the film holds up today & so much more!   Two morons, one corpse, three podcasters.  The plot thickens.......it's WEEKEND AT BERNIE'S!   Twitter/IG: @reconcinemation facebook.com/reconcinemation Cover and Episode Art by Curtis Moore (IG: curt986) Theme by E.K. Wimmer (ekwimmer.com)

On today's episode we interview writer, director, and actor Peter Anthony. Peter is previously known from his involvement in the fan film F13 Vengeance and is currently here promoting his newest film, Rose Blood - A Friday the 13th Fan Film which also stars Lar-Park Lincoln and Terry Kiser.  This was a fun interview with a fellow Friday the 13th super fan who is living out his passion for the films. Be sure to follow us on social media at...YouTubehttps://m.youtube.com/channel/UCOyloOb0puVCXDjJ_ZiPYqgInstagramhttps://www.instagram.com/pvdhorrorFacebookhttps://www.facebook.com/pvdhorror/Twitterhttps://twitter.com/PvdHorrorTik Tokhttps://vm.tiktok.com/ZMJBeoamE/

We're headed to the Caribbean for some summer fun for our last episode of August. This week, our episode was chosen by our Twitter followers, as we pitted three summer-themed movies. And our followers picked the 1993 comedy, Weekend at Bernie's II. Join as we talk about the toe-tapping music, Terry Kiser's inspired performance as a corpse, and the moment the movie jumps the shark... literally. Find us on Twitter, Facebook, and Instagram @themaindamie. We are a proud member of Geek Vibes Nation and you can find them at gvnation.com.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.Support this podcast at — https://redcircle.com/geek-vibes-nation/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

We're headed to the Caribbean for some summer fun for our last episode of August. This week, our episode was chosen by our Twitter followers, as we pitted three summer-themed movies. And our followers picked the 1993 comedy, Weekend at Bernie's II. Join as we talk about the toe-tapping music, Terry Kiser's inspired performance as a corpse, and the moment the movie jumps the shark... literally. Find us on Twitter, Facebook, and Instagram @themaindamie. We are a proud member of Geek Vibes Nation and you can find them at gvnation.com.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.

WELCOME BACK!We all know Venus is one talented nighttime guy. It's no surprise the Urban Powerhouse in Cincinnati is reaching out to WKRP's own Prince of Darkness. WREQ, 'the Ramblin' Wreck', is making an offer he might find hard to refuse. He's staring down tons more money, and the coveted title of Program Director. Venus has a meeting scheduled. Turns out, Venus is the last to know about his offer. Les has already spread the word, having heard from the Wreck's news director. Venus takes a meeting with a man made entirely of smarm. Hey, look, it's TERRY KISER!! Venus gets the nudge-nudge, wink-wink as Station Manager Jason Realli (Really?) mentions affirmative action and corporate policies. Red flags are flying all over the place for Venus. The only respite from the Storm of Smarm is the lovely African American receptionist at the Wreck. Is this "incredibly hot receptionist" thing a trend in Cincinnati? We should get funding for a study!!Strap in, Young Executroids, MAX is about take us all on a tour of the sleazy world of corporately controlled radio. It's shiny and futuristic thoroughly nauseating.  The grim reality of Realli can be found quietly cranking out the tunes behind a set of mini-blinds. Automation has come to Cincinnati and Venus is only there to fill out some corporate scorecard for African-American hires. In this world, being black means everything...knowing what you're doing isn't even part of the equation. Herb's exaggeratin', Andy's negotiatin' and Art's got pork-like products on his mind. Hit 'play' young Executroid...the Dr. will see you now. WATCH ALONG DETAILS...[Want to watch along with us? It's a blast!! We highly recommend the 'Shout Factory' boxed DVD set of the entire WKRP series. For reasons you'll have to listen to in the "Prolog"  episode, all streaming versions of the original "WKRP in Cincinnati" have had the original music cues removed. Generic music beds and stings were used in place of the original music for the syndicated version of the series. 'Shout Factory' has been able to restore an estimated 85% of all WKRP music cues to the original "as-aired" content for their DVD release. They've also restored scenes that had been cut to shorten episodes for syndication. The original eps ran 25 minutes. The syndication eps were shortened to 22 minutes. Over 88 episodes that's more than four hours of lost content, including the performance by "Detective" at the end of "Hoodlum Rock." Get the COMPLETE series...get the Shout Factory DVDs. The Shout Factory complete series box has a release date of 2014. All individual seasons of Shout Factory disks were released starting in 2015.]The WKRP-Cast is a weekly re-watch podcast spending time with the original "WKRP in Cincinnati" which aired from 1978-82. New episodes every Tuesday. Subscribe wherever you get your podcasts. ALL NEW!! Our full interview with Sleazy Photographer George Wyner is now available to Patrons. Plus, don't miss our exclusive interview with the man who stole Jennifer's heart! It's Tom "Steel Hawthorne" Callaway and WE'VE GOT HIM! Become a Patron to hear our funny and interesting interview with Steel and a great behind the scenes with George Wyner. Become a Patron for only $5 a month. Go to Patreon.com/WKRPCast

The gang returns to Crystal Lake and it seems many years have passed? No one told the wardrobe dept though. We join telekinetic Tina Sheppard and her exploitive therapist, "Weekend at Bernie's" Terry Kiser as they bring Jason back from his resting place, deep within the waters of Crystal Lake. This is such a strange movie, wherein the writer's had to use a "Carrie" type to give Jason a foe, in place of Freddy Krueger. We talk about Mike's surprise party that no one seems to mind he doesn't show up for, a toxic mean girl who has one of the funniest death's in the series, and the infamous sleeping-bag-against-a-tree death. Head on over to Crystal Lake while you still can, after this instalment Jason Takes Manhattan! like the muppets.instagram.com/franchiseguidesfranchiseguides@gmail.comthefranchiseguides.buzzsprout.comtwitter.com/FG_HarryPodder

It may not seem like it, but this is an incredibly important episode. Not only is it the first episode recorded with new equipment (ignore the dogs - still working out some bugs), but it's also the first with a return to social media, and it's the first episode with a brand new segment titled "Kaitlyn's Dating Corner!" In this episode, Nigel and Kaitlyn try to double down and tread this week's movie, Tammy and the T-Rex, like a legitimate film that deserves some extra love, and not just the "so bad its good" kind.  So what are you waiting for? Check it out! Tammy and the T-Rex (1994) Directed by: Stewart Raffill Written by: Stewart Raffill, Gary Brockette Starring: Denise Richards, Theo Forsett, Paul Walker, Ellen Dubin, Terry Kiser, George Pilgrim, Sean Whalen, John Franklin Don't forget to hit that subscribe button!  Support us on Patreon at www.patreon.com/ajourneyintofilm Want merch? Click this link here Follow us on Instagram and Twitter   This has been a production of AJourneyIntoFilm.com

People often ask what media we hosts enjoy when we are not watching horror schlock for this show. Jake's all time favorite YouTube channel is https://www.youtube.com/c/YourDinosaursAreWrong Luckily, we get a chance to speak with host, Steven Bellettini, on this week's episode and discuss what dinosaur he thinks would be scariest. We also touch on tokusatsu, animation, and our other obsessions. We then have the thrilling pleasure of discussing Tammy and the T-Rex, or Tanny and the Teenage T-Rex, depending on who you ask. The film was film directed by Stewart Raffill and written by Raffill and Gary Brockette. Raffill's grandson, the late, Paul Walker, stars as a kid who gets his brain put in a dinosaur robot for nefarious purpose by Terry Kiser as Dr. Gunther Wachenstein. Denise Richards plays the titular Tammy. She is joined by Theo Forsett as Byron Black, who is a scene stealer in the film. We talk about how the film came to be, other films of the genre, and touch on some of the inaccuracies of the Tyrannosaurus Rex. Also, our wonderful host, Adrienne, just released her first book, Last Call: A Toxic Love Story. You can snag a copy here: https://www.amazon.com/Last-Call-Toxic-Love-Story-ebook/dp/B099NZRRSG/ref=sr_1_2?dchild=1&qid=1626668465&refinements=p_27%3ASantiago&s=digital-text&sr=1-2 If you send us proof you bought a copy of her book, we will give you free access to every Patreon bonus episode we have ever recorded. This week's "Hidden Track" is Mice on Stilts with their song YHWH. Please support them at https://www.facebook.com/miceonstilts/ and https://miceonstilts.bandcamp.com/ If you ever have feedback or recommendations on future episodes, please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh ; https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support

While we wait for the start of Predict-O-Cast Season 5, enjoy this bonus episode, previously only available on Patreon. This week we're prepping for the long holiday weekend with the wholly unnecessary sequel Weekend At Bernie's II! How have Richie and Larry learned no lessons from the first film (which took place maybe a week ago)? Also, how much did Terry Kiser get paid to be tossed around? We also think about what could've been: Pirate Bernie. Predict-O-Cast Season 5 begins Monday, July 5. Rate and review us wherever you find the show!  Follow us on social media:  Twitter: @predictocast Instagram: @predictocast Facebook: https://www.facebook.com/predictocast Check out our entire back catalogue at predictocast.com Drop us a line at predictocast (at) gmail (dot) com Listen to Hot Diggity Dog, our podcast about dog movies, wherever you get podcasts or at hotdogpodcast.com 

With LB chillin poolside on the ISS, our ground crew lead by Danielle and Fernanda is joined by me, Paul, to discuss the 1989 I-can't-believe-this-got-greenlit comedy Weekend At Bernie's. Directed by Ted Kotcheff and starring Andrew McCarthy, Jonathan Silverman, and Terry Kiser- the movie follows two pathetic insurance salesman with their lifeless corpse of a boss spending a weekend at a beach house. Yep. It certainly was the 80's. Más Fanbyte: Fanbyte Podcast Network (We have other channels with equally incredible shows. We promise.) Follow us on Twitter (Yell at us on Twitter in good ways.) Talk to us on Discord (Talk to us and our loving community. Also we have a pets channel that is very good so like...) Twitch Live Streams (Hang out with us live and yell good things at us.) Rate and review our show (Please show us your support by rating and telling Paul how much you love his work to make his heart feel good or we keep him in the podcast dungeon forever, never to see the sun again.) Learn more about your ad choices. Visit megaphone.fm/adchoices

What would you do if you found your boss dead as a party was starting? This week we watched Weekend at Bernie's, hope you enjoy it as we chat about this iconic 80's comedy. My guests had actually never seen it before, if you haven't watched it before, I recommend checking it out first, you will need to rent or buy it, it isn't streaming on any service unfortunately. This film stars Andrew McCarthy, Jonathan Silverman, Terry Kiser, Catherine Mary Stewart and many others, it was written by Robert Klane and directed by Ted Kotcheff. Long Island Ice Tea (cinemasips.com): Ingredients 1 oz vodka 1 oz white rum 1 oz silver tequila 1 oz gin 1/2 oz triple sec 2 tablespoons lemon juice 1/2 cup Cola, or to taste Lemon wedge Directions Mix alcohol and lemon juice in a cocktail shaker full of ice. Shake until chilled, then pour entire contents (ice included) into a Collins glass. Top with cola and a lemon wedge. Drinking Game (reeldrinkinggames.com): Drink every time: Someone says "Bernie" "Lomax" or "Weekend" Anyone flirts Anyone drinks Someone mentions calling the cops Bernie has to be moved Paulie "Kills" Bernie Waterfall when Bernie water skis Finish your drink: Bernie dies for real When Paulie is arrested As always, drink responsibly and with others. Please subscribe/follow the podcast on your favorite streaming service, follow on Instagram and Twitter at @Line_Drunk, check out linedrunk.wordpress.com and for bonus watch-a-long episodes check out my Patreon at patreon.com/linedrunk. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/linedrunk/support

The most amount of people so far on The Brooklyn Blast Furnace Podcast! Here on Episode 212 we have Actor, Filmmaker and Director Peter Anthony aka "The Mad Cuban" who was a solo guest several months back. Actor Jason Brooks who I did a Bonus Mini Episode with from a Horror Convention a couple years back. Actor and Film Reviewer Jequient "Q" Broaden and Actor Todd Jenkins who has over 100 iMDB credits to his name. We talk all about "Roseblood: A Friday the 13th Fan Film". Directed and starring Peter as "General Brackbower", Jason Brooks plays "Jason Voorhees" as he did in "Friday the 13th: Vengeance", Todd is an out of pocket orderly in a psychiatric ward and "Q" plays Creighton Duke, the bounty hunter from "Jason Goes to Hell: The Final Friday". Peter got Lar Park Lincoln in the film to reprise her role as telekinetic "Tina Shepard" from Friday the 13th Part 7" as well as Terry Kiser to play "Dr. Krews" once again, which is an incredible thing especially if you're a fan of the films. This was a lot of fun to do, especially because we're all die hard fans of the F13 Franchise. Please back the Kickstarter for the sequel to "F13 Vengeance"... "Friday the 13th Vengeance II: Bloodlines" here: https://www.kickstarter.com/projects/f13bloodlines/friday-the-13th-vengeance-2-bloodlines

This week, for Arbor Day the boys climb into the old treehouse and discuss the 1996 straight to VHS film Forest Warrior. Arguably our first Chuck Norris children’s film, we serve up our opinions before surveying members of the target audience!See complete episode stats (# of fights, explosions, vehicle chases, roundhouse kicks & more) at roundhouseroulette.com.Share your opinions with us on Facebook, Instagram and Twitter or by emailing us at roundhouseroulette@gmail.com.If you'd like to support the show, leave us a review on Apple Podcasts. To further support our shenanigans, check out our fresh Merch or our ever evolving Patreon mayhem. Most importantly, thanks for hanging with us!Blistering Sound FX obtained from ZapSplat

Theme Music: “Super Bon Bon”” by Soul Coughing https://www.youtube.com/watch?v=_Xlkla4Jrbk Intro Links: Snoop Dogg Says Read the Syllabus https://www.youtube.com/watch?v=aL_fP5axQV4 John Travolta Mispronounces Idina Menzel https://www.youtube.com/watch?v=DK7gzArTI0w Art Bell Wikipedia Page https://en.wikipedia.org/wiki/Art_Bell Miss South Carolina Answers a Question (Miss Teen USA 2007) https://www.youtube.com/watch?v=lj3iNxZ8Dww Conversation Links: Man Punches Kangaroo https://www.youtube.com/watch?v=FIRT7lf8byw Tiger Woods on The Mike Douglas Show https://www.youtube.com/watch?v=6XupL9h0DOc The Mike Douglas Show with John and Yoko https://www.youtube.com/watch?v=dxh5fY4p720 Living Off the Grid w/Jake & Nicole https://www.youtube.com/channel/UCVJgocEWT3u49_4GtulGHnQ 10 Best Grilled Fruits https://www.youtube.com/watch?v=W8cCK54hNKc The Rolling Stones - “Out of Time” (Strings version) https://www.youtube.com/watch?v=02FTsdj0Ges Carmine “The Cigar” Galante Wikipedia Page https://en.wikipedia.org/wiki/Carmine_Galante Village People Wikipedia Page https://en.wikipedia.org/wiki/Village_People Xtianity Wikipedia Page https://en.wiktionary.org/wiki/Xtianity Jane Russell Playtex Bra Commercial https://www.youtube.com/watch?v=I58I8LK8jY8 Battle of the Network Stars 1976 https://www.youtube.com/watch?v=5oGOzvhEQ2E Circus of the Stars w/Terry Kiser (1993) https://www.youtube.com/watch?v=n2QiK6rKKJc TAMMY AND THE T-REX (1993) Trailer https://www.youtube.com/watch?v=3XsQD7I3KYA LEPRECHAUN (1993) Trailer https://www.youtube.com/watch?v=pJ_TYkEyNIc LEATHERFACE (1990) Trailer https://www.youtube.com/watch?v=nY7n9IKerag TEXAS CHAINSAW MASSACRE 4 (1994) Trailer https://www.youtube.com/watch?v=PNsgi_n-hro CRITTERS 3 (1991) Trailer https://www.youtube.com/watch?v=NlokOtVPRuA KING KONG (1976) Trailer https://www.youtube.com/watch?v=6bIlM7rnEV4

As some of you may have noticed, despite being called "Slashers," our show did not do a proper slasher film in its entire first year. Now, we do two in a single episode! In this grand finale to our "New Year, 'New' Movies" event, we pit Friday the 13th Part V A New Beginning against Part VII The New Blood. Doug argues that Part V, A New Beginning, is the penultimate, while Adam contends that Part VII, The New Blood, is actually superior. Jake acts as the mediator, with Adrienne being the jury. There are no ties here, goons! We have a decisive winner. Part V was directed by Danny Steinmann, who actually directed porn! The movie makes a lot more sense now, right? This movie is famous for having two depictions of Jason Voorhees, with the slasher never actually appearing in the film. There is a Voorhees in the film, albeit the actress Deborah Voorhees. Doug talks everything in this movie from the kill count to Roy Burns arguably being the best Jason in the Friday the 13th video game. Part VII was directed by John Carl Buechler, a sultan in the world of special effects, ranging from Troll to Re-Animator. This film pits the actual Jason against a drove of teenagers marching onward to doom like Lemmings if you forget to press pause AND JEAN GREY FROM X-MEN! (kinda). If that analogy is true, that makes Tina Shephard's "Charles Xavier," Dr. Crews, played by Terry Kiser. Despite over 100 acting credits to his name, you most assuredly know him best as the titular Bernie, from Weekend at Bernie's. *cue the now-redundant Bernie Sanders meme* And, to be fair, with our audience you might also remember him from Tammy and the T-Rex. Adam argues the effects, atmosphere, and debut of Kane Hodder. Where do you stand on the debate? Did we get it right? If you ever have feedback or recommendations on future episodes, please let us know at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnh ; https://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support

When Walker heads up Summer Camp the lessons learned come at the expense of personal safety! Join us as he inadvertently puts at-risk youths, including a young Mila Kunis, at risk! Oh and Terry Kiser (the dead guy from Weekend at Bernie's) guest stars!See complete episode stats (# of fights, explosions, vehicle chases, roundhouse kicks & more) at roundhouseroulette.com.Share your opinions with us on Facebook and Instagram at @RoundhouseRoulette and Twitter at @RoundhousePod or by emailing us at roundhouseroulette@gmail.com.

In this episode of Midnight at the Movies, I give my raw thoughts and first impressions of the film Friday the 13th Part VII: The New Blood (1988), directed by John Carl Buechler, starring Terry Kiser, Jennifer Banko, John Otrin, and some other people. . The Cornelius Collection https://www.youtube.com/channel/UCgdIXL9R5zEZrWYvgJNJk7g?view_as=subscriber

Joe, Mark and CJ talk... Friday the 13th Part VII: The New Blood a 1988 American slasher film directed by John Carl Buechler and starring Lar Park Lincoln, Kevin Blair, Susan Blu, Terry Kiser, and Kane Hodder in his first portrayal as Jason Voorhees, who would portray the character in three subsequent films. It is the seventh installment in the Friday the 13th film series. The film follows a psychokinetic teenage girl who inadvertently unleashes Jason from his grave in Crystal Lake, where she and her friends are staying.

The gang discuss Reboot News, where to watch episodes of Walker, Texas Ranger and recap and review Season 6 Episode 2, "Iceman", where after he captures the explosives expert know as "The Iceman," Walker sends in a ringer to help apprehend the criminal's accomplices. They then spin the Roundhouse Roulette to pick next week's episode!Read this episode's companion blog: "How to watch episodes of Walker, Texas Ranger"See complete episode stats (# of fights, explosions, vehicle chases, roundhouse kicks & more) at roundhouseroulette.com.Share your opinions with us on Facebook and Instagram at @RoundhouseRoulette and Twitter at @RoundhousePod or by emailing us at roundhouseroulette@gmail.com.

First, Black lives matter. We probably don't need to tell you, our wonderful listeners, but we're also trying to do some good with our platform. On that note, we're doing a fundraising drive: please donate to National Lawyers Guild (nlg.org) and forward us a receipt at werewolfambulance@gmail.com, send us a screenshot or tag us on social media. We'll be matching 10% of your donations and if we hit $2,500, I (Katie) will touch a horse. On video. We already have the horse lined up. On one hand, I want to raise a lot of money for a seriously good cause; on the other hand, I kind of want to faint when I think about actually touching a horse. Anyway, onto this week's episode. Yes, we know, we know, just because a movie has zombies does not make it a horror movie, but that's neither here nor there. This movie is actually horrifying. We're talking about the sequel to our most recent bonus episode, 1993's "Weekend at Bernie's II." Special topics for your consideration include: becoming a full-on sociopath overnight, what the hell happened to Gwen?, Terry Kiser continuing to be the GOAT even as actual goats parade around him, a complete lack of understanding about voodoo and the possibility that this movie was actually written by a team of children. We have done approximately one billion zombie movies, so here are some of our favorite episodes: 92- "Dead Snow," 130- "Pontypool," 160- "Shaun of the Dead" and Episode 227- "Zombi 2." LUCIO!  Have you been thinking about buying a t-shirt but perhaps none of the designs spoke to you? Then we are certain you'll love our brand new design by the inimitable Justin Gray, "Close Enough, Lucio!" You can get this design printed on a t-shirt, cell phone case, throw pillow and more weird items at www.teepublic.com/user/werewolfambulance.  Have you seen this one? What did you think? Let us know your thoughts at facebook.com/werewolfambulance, on Twitter @werebulance or on Instagram @werewolfambulance. You can also email us for our segment "MAILBAG!" at werewolfambulance@gmail.com and if you're feeling super generous, leave us a rating and a review on Apple podcasts or wherever you can. Or hey, just tell a friend about us. Thank you for helping us continue to grow.  Theme music by Aaron "Toxic" Mortimer SoundCloud- https://soundcloud.com/toxic_dsm Contact- Facebook (ToxicDSM) or Instagram (toxic_dsm) Werewolf Ambulance is a horror movie comedy podcast. 

One of the most ridiculous premises in movie history, but it works! (at least for the original film). Enjoy the hijinks of Andrew McCarthy and Jonathan Silverman as they drag their dead boss around for a holiday weekend. Co-starring Terry Kiser and Catherine Mary Stewart. Directed by Ted Kotcheff.

We skipped a year here, as 1987 brought no new movies. 1988, however, brings Friday the 13th Part VII: The New Blood. Dubbed "Carrie vs. Jason," Kyle, Josh and Jim watch the flick with some funny asides and a particular Jim convention story. Keep your eyes peeled for Bernie from Weekend At Bernie's himself, Terry Kiser. Originally recorded under the water on May 26, 2020. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

An evil scientist implants the brain of Michael, a murdered high school student, into a Tyrannosaurus. He escapes, wreaks vengeance on his high school tormentors, and is reunited with his sweetheart Tammy.   The Horror Junkyard returns and this month it's a double dose of dinosaurs attack.  This weeks movie features a star studded cast with young-ins Denise Richards, Paul Walker and a very spry Terry Kiser.  It's the party crashing, dino thrashing, head bashing, prehistoric pimple popping with 1994's "Tammy and the T-Rex".

Tammy and the T-Rex, aka Tanny and the Teenage T-Rex, stars Denise Richards, Paul Walker, and Terry Kiser. A teen (Denise Richards) learns that a scientist (Terry Kiser) implanted her dead boyfriend's brain (Paull Walker) into an animatronic dinosaur. This is a weird movie with a weirder cast! Come hang with us!

Well this is some movie. This week on Action, Action we talk about one of the craziest movies we have ever seen, Tammy And The T-Rex Synopsis: A teen (Denise Richards) learns that a scientist (Terry Kiser) implanted her dead boyfriend's brain into an animatronic dinosaur. Initial release: December 21, 1994 (USA) Director: Stewart Raffill Music composed by: Tyler Bates Screenplay: Stewart Raffill, Gary Brockette Producers: Diane Kirman, Laura Tateishi

The whole gang is back to try and understand the lunacy that is Tammy & The T-Rex!!! Starring Denise Richards, Paul Walker (RIP), and Terry Kiser it's the classic tale of boy meets girl, girl's exboyfriend causes trouble, mad scientist kidnaps boy and puts his brain into a robotic Tyrannosaurus Rex! Luckily she's not just into him for his body. All this and more in DBV 74: Tammy & The T-Rex!!!

“Weekend at Bernie’s” was released in 1989. But 30 years later, people who haven't seen the movie still know its premise. So why won’t this film die?In the second episode of What the Kids Were Watching, Sarah and Raf take a journey deep into the heart of 80s movie stereotypes. Hear about the high points of “Weekend at Bernie’s," like Andrew McCarthy and Jonathan Silverman’s hotness; the low points, like how most of the women are “furniture with boobs;" and the surprisingly great performances, like Terry Kiser as the titular “dead mobster marionette." You’ll also hear fun facts about the movie, like how Bernie’s house was built on an environmentally protected beach — Sarah has questions about this — as well as the film’s sequel...just kidding; they refuse to talk about the film’s terrible sequel. (Bonus feature: You can hear Sarah’s beloved dog Verona running around, flapping her ears, and snorting, all free of charge.)

Hey Gang! Episode 302 is a film Bri has been begging us to do since we started this podcast a decade ago...the 1989 classic, Weekend at Bernie’s! Bri gets emotional that his day is finally here. In this episode, we laugh. A lot. It’s a real giggle fest. We discuss what a remake would look like starring Bri’s dad and Flyers Legend Bernie Parent. Also in this episode: Bobby Bonilla Day comes up (somehow); the story of how we almost met Terry Kiser once; we also briefly discuss Weekend at Bernie’s II. Find out what Roger Ebert said about this film, and if Jonathan Silverman (Richard) is actually Sarah Silverman’s brother! WHEN DOES RIGOR MORTIS SET IN???   Please Forgive This is a Film Podcast. About Films.  

In celebration of its 30th anniversary (and our Dad's birthday!) we spent a Weekend At Bernie's! Seriously, how does no one realize this guy's dead? Is there anything grosser than sex with a dead guy? Does anyone understand this insurance scam? Do we...actually like this movie? All this and more! Support us on Patreon!   “NewsSting, Ouroboros” Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 http://creativecommons.org/licenses/by/3.0/   Keywords: Weekend at Bernies, Terry Kiser, He's Dead You Idiots, Andrew McCarthy, 80s, Movie, Retro, 80s, Podcast, Eighties

This week's Throwback Thursday episode we are spending a Weekend at Bernie's! Starring Andre McCarthy, Jonathan Silverman, Catherine Mary Stewart, and Terry Kiser.

On today's Be Kind Rewind, we're talking Weekend At Bernie's and Weekend At Bernie's 2. To discuss these weird 80's descents into the macabre, Joey is joined by Ian Taylor and Sheila Ann. If you don't think Terry Kiser should have won an Oscar for his work in these films, then this might not be the show for you. Support The Be Kind Rewind by donating to their Tip Jar: https://tips.pinecast.com/jar/the-be-kind-rewind

Three morons. One corpse. And the plot thickens... We had the amazing chance to sit down and talk with Terry Kiser at Scare-A-Con New England 2019 - You wanna hear it? Here it goes! Find us entertaining? Hit the Subscribe button. Leave a review. Find us: IG/Twitter @thatstrangeshow | The Dorkening Podcast Network | thatstrangeshow.com | thatstrangeshow@gmail.com This episode is brought to you by Deadly Grounds Coffee. ---> https://deadlygroundscoffee.com/

018 - What can we say about Weekend at Bernie's that hasn't already been said? Well, just over 54 minutes worth of stuff as it turns out. Despite holding a place in our collective hearts over the last 30 years (yes 30 years!), there isn't a tonne of commentary out there about this film. So consider this your one stop shop for all things Bernie - strap yourselves in and feel the Bern!

An illustrious American podcast studio becomes a bloody battleground when a mysterious sinkhole appears at a nearby fracking site unleashing unspeakable horror. On Episode 356 of Trick or Treat Radio we discuss Slaughterhouse Rulez, a new horror comedy starring Simon Pegg and Nick Frost! We also talk about toxic fandom, our upcoming appearance at Scare-A-Con, and Ravenshadow’s brilliant ideas for new merch. So grab your cricket bat, catch the last half of Ender’s Game on TV and strap on for the world's most dangerous talk radio showStuff we talk about: Castle Wolfenstein’s new chair, vinyl wreck-ids, natural camouflage, slam evil, Billy Zane, Scare-A-Con, Cassandra Peterson, Elvira, Terry Kiser, “the Bernie thing”, Kate Hodge, Phantasm, Clint Howard, Battle Pack, Tales from the Podcast, Patreon, Game of Thrones, Ravenshadow’s car, Tubi, Batman, Battle Pillow, toxic fandom, Star Wars, Full House, Good Time, Robert Pattinson, online petitions, Michael Keaton, Cocknocker, Daniel Radcliffe, Spider-Man, Elijah Wood, Batfleck, MZs hatred for Will Smith, Alfonso Ribeiro, bat nipples and bat butt, Gary Coleman, Peter Dinklage, Meth or Math?, Doctor Octopus, DC’s infatuation with crisis, 80s homages, Ender’s Game, Harrison Ford, Asa Butterfield, Crispian Mills, A Fantastic Fear of Everything, Simon Pegg, Nick Frost, Margot Robbie, Suicide Kings, porn and Autobots, can you have sex with a robot, fracking, Cate Blanchett, Hot Fuzz, The Host, Beggar’s Canyon, The Cornetto Trilogy, The World’s End, Animal Kingdom, Ellen Barkin, getting tricked into a treat, Aniara, “gonna get a little f*ck”, “The Male”, Trick or Treat Radio merch?, “teach me how to learn, Johnny”, Bombalayo condoms, Ravenshadow: Last Man on Earth, and Autoboterotica.Support us on Patreon: https://www.patreon.com/trickortreatradioSend Email/Voicemail: mailto:podcast@trickortreatradio.comVisit our website: http://trickortreatradio.comUse our Amazon link: http://amzn.to/2CTdZzKFacebook Group: http://www.facebook.com/groups/trickortreatradioTwitter: http://twitter.com/TheDeaditesFacebook: http://facebook.com/TrickOrTreatRadioYouTube: http://youtube.com/TheDeaditesTVInstagram: http://instagram.com/TheDeaditesSupport the show (https://www.patreon.com/trickortreatradio)

Scotty kicks off Slasher Scotty in a huge way when he interviews a big name in the acting world. Scotty interviews Terry Kiser, who played Dr. Crews in Friday the 13th Part 7: The New Blood, where he discusses his time on the set of Friday the 13th Part 7: The New Blood, what it was like working in a swamp and what exactly was lurking in the swampy water, his experience filming Weekend At Bernie's, how he got his start into acting, how he filmed his death scene, and his future projects he is currently working on. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/slasherscotty/support

Scotty kicks off Slasher Scotty in a huge way when he interviews a big name in the acting world. Scotty interviews Terry Kiser, who played Dr. Crews in Friday the 13th Part 7: The New Blood, where he discusses his time on the set of Friday the 13th Part 7: The New Blood, what it was like working in a swamp and what exactly was lurking in the swampy water, his experience filming Weekend At Bernie's, how he got his start into acting, how he filmed his death scene, and his future projects he is currently working on.

BTB presents an on location interviews from Monster Mania (www.monstermania.net) with actor Terry Kiser best known for the 80's comedy movie "Weekend at Bernies." What did Terry do to convincingly play a corpse? The answer may not be what you expect!

BTB presents another rad show! We welcome actor Brendan Taylor known for his roles in CW's Arrow, Supernatural, SyFy's The Magicians and much more! Brendan will talk about his role in E! networks drama series The Arrangement as well as how he successfully transitioned from set dresser to actor! In addition present two exclusive on location interviews from Monster Mania (www.monstermania.net) with actress Sharni Vinson from "You're Next" and the upcoming "Gods and Secrets" on Netflix and actor Terry Kiser best known for the 80's comedy movie "Weekend at Bernies." BTB’s host with the most Al Sotto brings you another entertaining program! This week we welcome back actor and the "Khal Drogo of the DMV" Lyon Beckwith, "One True Knight" Martin Lopez and Mike "The General" Zad! So expect all the late-breaking news on pop culture, entertainment, and more! Listen to our gut busting humor, insightful commentary, and thought provoking opinions on the world of entertainment uncensored only on Below The Belt Show (www.belowthebeltshow.com)! Classic Cut: Paula Cole "I Don't Want to Wait" NOTE: Due to copyright, songs have been removed from the podcast show so listen to our show LIVE to hear all the music and commentary uncensored!

For sports fans, places like the Miami Orange Bowl, the Astrodome, Caesar's Palace and Shea Stadium are hallowed halls of history. For The Golden Girls, they're punchlines and putdowns, as well as places. We'll also discuss a few of the show's most memorable guest stars like Paula Kelly, Terry Kiser and Inga Swenson. See acast.com/privacy for privacy and opt-out information.

It's certainly not the most noteworthy comedy from this era, but Weekend at Bernie's managed to stand strong against some pretty fierce competition in the summer of 1989 and its continued success on home video and cable helped cement its reputation as a cult classic. So while our generation tends to regard this film quite fondly, the HDYR gang wasn't super familiar with it. Chris watched it a couple of times as a kid, Carlos had only seen the sequel, and Donna had never seen either of them. Topics include: Elements introduced in the first ten minutes that the script doesn't follow through on, a first act that's remarkably similar to Ghost, the director's impressive (and diverse) filmography, a lot of love for Terry Kiser's performance (both before and after he kicks the bucket), how they manage to keep us laughing throughout the story's darkest moments, and much much more! iTunes / Stitcher / RSS / Facebook / Twitter / Instagram About The Show

On this week's special bonus show, it's "Friday the 13th VII: The New Blood" live from Atlanta! Recorded at the Punchline in April of 2017, listen as the gang braves the waves of enticing mozzarella stick odor to talk about the seventh film in the slasher series! Why does Jason have to look like a lizard person in this? Is Terry Kiser sleeping with that disturbed girl's mother? And how did they not bother to recover that dead dad's body? PLUS: Being a professional gator wrangler in Hollywood pays handsomely! "Friday the 13th VII: The New Blood" stars Lar Park-Lincoln, Terry Kiser, John Otrin, Susan Blu, and Kane Hodder as Jason; directed by John Carl Buechler.

Aaron Cohen, Dan Fleschner and Matt Stroup join the roving party on Hampton Island as they revisit the 1989 treasure that is Weekend at Bernie's (Andrew McCarthy, Jonathan Silverman and Terry Kiser as the mostly dead Bernie Lomax). Plus, the debut of a brand new and possibly irritating 1989-themed trivia game. For more on this episode, check out www.thethrowbackshow.com/blog.

On this week's episode, the gang goes back to the beach to spend another couple days with Rich, Larry, and old Bern in Weekend at Bernie's II! How did they not have a more... accurate production design with that porno theater? What happened with Gwen? And how is this zombie not talking? PLUS: Sweet Jeff Dahmer calls a couple customer service lines. Weekend at Bernie's II stars Andrew McCarthy, Jonathan Silverman, Terry Kiser, Troy Byer, Barry Bostwick, Tom Wright, Steve James, and Novella Nelson as "The Mobu"; directed by Robert Klane.

On this week's episode, the gang kicks off a two week Bernie-a-thon with the coked-out, bad decision-filled nonsense-fest, Weekend at Bernie's! How do you create such lackluster mafia characters? How does no one see how creepy Silverman's character is? And how is Bernie's corpse not torn to shreds by the end of all this? PLUS: Vince McMahon and Stone Cold Steve Austin pen the script for a Bernie's remake. Bah gawd! Weekend at Bernie's stars Jonathan Silverman, Andrew McCarthy, Terry Kiser, Catherine Mary Stewart, and Don Calfa; directed by Ted Kotcheff.

What happens when Jason meets a Carrie-like mind bender? Apparently Friday the 13th Part 7 has the answer to that question. Or does it? Listen in to hear how this psychic take on the Crystal Lake killer held up in our opinion.  Friday the 13th Part 7: The New Blood (Friday the 13th Part VII: The New Blood) Director: John Carl Buechler Writer: Daryl Haney, Manuel Fidello Starring: Jennifer Banko, Lar Park-Lincoln, Kevin Spirtas, Kane Hodder, Terry Kiser, Susan Blu   Social Media: Twitter- @podslash Facebook- facebook.com/podslash Instagram- @podslashpodcast Tumblr- podslash Email- podslashpodcast@gmail.com

Our Chiller Theatre Expo April 2015 retrospective! We spoke to, or about, these celebrities: Don Most, James Darren, Lee Meriwether, Dick Miller (documentary That Guy Dick Miller), Michael Gross, Terry Kiser, Rip Torn, and Richard Karn. Also in this episode: the end of the Ron and Fez Show, Jeremy Piven, Greg denied by Michael Keaton, Greg missed Michael J. Fox thanks to moronic out-of-control autograph dealers, Jason Biggs is not Jewish but is from New Jersey, Greg attending the Paul Blart Mall Cop 2 movie premiere, a Rob-view of Cape Fear (1991) starring Nick Nolte and Robert De Niro, Harmy's Star Wars Despecialized Edition, Blackthorne Publishing's The Transformers in 3-D comic books, Greg's streak of bad luck meeting A-list celebrities, Jay Leno, the 2015 Tribeca Film Festival, meeting Michelle Rodriguez, Steve Guttenberg, Garrett Hedlund, Kevin Pollak, and Robert De Niro, missing George Lucas, Olivia Wilde, George Clooney, Christopher Walken, and Arnold Schwartzenegger, Radio Man, chasing down Justin Long and Amanda Seyfried, and FX upfronts (Chris Parnell, Jessica Walter, and Steve Ranazissi). 118 minutes - http://www.paunchstevenson.com

An incredible show which features writer and director Michael Lynch, actor Terry Kiser and writer/director Joe Thomas.

Sean, Greg and Gary return to talk about the magic of the 80’s and the genius of Charlie Sheen. But seriously, how can we say the 80’s are back if “The Legend of Billie Jean” isn’t available on DVD? I’m just sayin’... Also, we honor Terry Kiser from “Weekend At Bernie’s” with the Johnny Drama Award.

The second episode of the Spiraken Movie Review. In This episode, Xan & Kal review the 1985 Dark Comedy film, "Weekend At Bernie's" directed by Ted Kotcheff and starring Andrew McCarthy, Jonathan Silverman, Don Calfa, and Terry Kiser as Bernie Besides reminescning about the 1980's, Xan and Kal talk about the insanity behind this film and the obsurd nature of it. If you want to leave us a message about if you like this new podcast, if we should have this as a weekly or monthy podcast and what we should replace THE WHEEL OF MANGA with for this podcast, send an email to xan@spiraken.com or spiraken@gmail.com . Hope you enjoy this episode and please send any comments concerns and ideas on how to make this podcast better. Remember to Listen to the primary podcast The Spiraken Manga Review. Also check out Xan's sidekickery on the fightbait.com podcast thank you and enjoy Music For Episode:Intro Music -Hot and Cold by Jermaine Stewart (Weekend At Bernie's OST),Background Music -Sexy Theme 3 by Mark Henessy (Porn Grooves OST),Background Music -Ritual/Ancient Battle/2nd Kroykah by Sol Kaplun (Star Trek OST Vol 2),Background Music -Yakety Saks by Benny Hill (The Ultimate Collection: Benny Hill),Ending Music -Hot and Cold by Jermaine Stewart (Weekend At Bernie's OST ) Our Website http://www.spiraken.com Our Forum http://spiraken.rapidboards.com Our Email Spiraken@gmail.com My Email xan@spiraken.com Our Twitter Spiraken Xboxlive Gamertag Xan Spiraken Our Voicemail 206-350-8462 Random Question of the Week: How many people did not realize that Bernie was dead in this movie?