American actress
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9 episodes with theresa russell
2 episodes with theresa russell
3 episodes with theresa russell
2 episodes with theresa russell
2 episodes with theresa russell
CHRISTOPHER BICKEL, underground filmmaker, punk rocker and artist joins Death By DVD to discuss their most recent film PATER NOSTER AND THE MISSION OF LIGHT, why they make movies, art and MORE on this fresh from the grave episode celebrating all things Christopher Bickel. We have been very luck to have had Mr. Bickel on Death By DVD previously, and now they are back for a ghoulish interview I think you'll enjoy! Well, at least I hope you enjoy it. We discuss the films of Christopher Bickel and what makes them tick as an artist, how they create art and of course we discuss who they are as an artist. Strap in and get ready, this is an action packed episode filled with laughter and joy. I hope you click play and hear it today. Would you like to see a behind the scenes video with footage from the recording of this interview? TAP HERE or copy and paste the link : https://www.patreon.com/posts/death-by-dvd-at-131273256Wanna hear my first interview with Christopher Bickel? TAP HERE or copy and paste the link : https://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelWatch PATER NOSTER AND THE MISSION OF LIGHT ON NIGHT FLIGHT. TAP HERE or copy and paste the link : https://www.nightflightplus.com/videos/pater-noster-and-the-mission-of-light/670d3d1a2d57b50001a4f878Learn all about Christopher Bickel's new film PATER NOSTER AND THE MISSION OF LIGHT HERE : Https://www.paternostermovie.comChristopher Bickel on IMDb : https://www.imdb.com/name/nm3355435/PATER NOSTER AND THE MISSION OF LIGHT ON IMDb : https://m.imdb.com/title/tt33064297/WATCH BAD GIRLS BY CHRISTOPHER BICKEL ON AMAZON : https://www.amazon.com/Bad-Girls-Morgan-Shaley-Renew/dp/B09LQ42SX3WATCH THE THETA GIRL BY CHRISTOPHER BICKEL ON AMAZON : https://www.amazon.com/Theta-Girl-Victoria-Elizabeth-Donofrio/dp/B07HSMHVDLSUPPORT CHRISTOPHER BICKEL BY SHOPPING PAPA JAZZ RECORD SHOPPE : https://www.papajazz.com/Did you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES ★ Support this podcast on Patreon ★
Paul joins the boys to take on 1978's masterful crime / character study / social commentary of a film in "Straight Time," starring Dustin Hoffman, Theresa Russell, M. Emmett Walsh, Harry Dean Stanton, and Gary Busey. You may not have heard of this one, but its a classic, and you will enjoy it. Trust us.E-mail Prime Cut Podcast at theprimecutpodcast@gmail.comPrime Cut is on TikTok @PrimeCutPodcastFollow and Subscribe to the Prime Cut Podcast on YouTube at - https://www.youtube.com/@ThePrimeCutPodcastFollow us on Instagram at https://www.instagram.com/prime_cut_podcast/
How do you follow an industry-shaking debut like SEX, LIES, AND VIDEOTAPE? If you're Steven Soderbergh, the answer is obvious: a weird, downer sort-of-biopic of Franz Kafka shot in black and white. We're joined by filmmaker Christopher Jason Bell (MISS ME YET, THE WINDS THAT SCATTER) to talk 1991's KAFKA, Soderbergh's influence, and Chris's outstanding new film FAILED STATE. Great ep! Further Reading: "In the Penal Colony" by Franz Kafka The Trial by Franz Kafka The Castle by Franz Kafka Los Angeles Times article by David Gritten Further Viewing: THE THIRD MAN (Reed, 1949) THE TRIAL (Welles, 1962) AMERICAN GIGOLO (Schrader, 1980) BRAZIL (Gilliam, 1985) Follow Chris: https://linktr.ee/christopherjasonbell Watch the trailer for FAILED STATE Follow Pod Casty For Me: https://www.podcastyforme.com/ https://twitter.com/podcastyforme https://www.instagram.com/podcastyforme/ https://www.youtube.com/@podcastyforme Support us on Patreon: https://www.patreon.com/PodCastyForMe Artwork by Jeremy Allison: https://www.instagram.com/jeremyallisonart
DEATH BY DVD PRESENTS : What's The Deal With Jeremy Berkowitz? An Interview with Jeremy Berkowitz. On this fresh from the grave episode we are proud to bring filmmaker Jeremy Berkowitz to the graveyard to discuss their art! Jeremy is a tremendously talented writer, director and actor and their feature film debut SYDNEY was released early 2025 for all to see. On this episode Jeremy discusses their work, Sydney, what made them want to be an artist and more. We dive deep into into Jeremy's world of art, from his start in stand up comedy to writing directing and starring in a feature film. I am so excited for you all to hear this episode, Jeremy creates dynamic art that drowns you in pure emotion and I truly hope you enjoy this episode and explore their art further. WATCH SYDNEY FOR FREE : Tap here or copy the link belowhttps://www.sydneythefilm.com/VISIT THE OFFICIAL WEBSITE OF JEREMY BERKOWITZ: Tap here or click the link belowhttps://www.jeremyberkowitz.com/Don't forget, Death By DVD has its very own all original audio drama voiced almost entirely by Death By DVD!DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES Whoah, you're still here? Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVD ★ Support this podcast on Patreon ★
“She's an undercover cop. Seduced by a fantasy. Trapped in a mystery. Led by a dangerous impulse.” “Impulse is a 1990 American neo-noir[3] film directed by Sondra Locke, and starring Theresa Russell, Jeff Fahey, and George Dzundza.” Show Links Trailer: https://www.youtube.com/watch?v=0fq_hCLzu_g Wikipedia: https://en.wikipedia.org/wiki/Impulse_(1990_film) Just Watch: https://www.justwatch.com/us/movie/impulse-1990 Socials Facebook: https://www.facebook.com/@moviewavepod Instagram: https://www.instagram.com/moviewavepod Letterboxd: https://letterboxd.com/moviewavepod/ Reddit: https://www.reddit.com/user/moviewavepod TikTok: https://www.tiktok.com/@moviewavepod Twitter (X): https://twitter.com/moviewavepod Buy Me A Coffee: https://www.buymeacoffee.com/moviewavepod Intro/Outro Sample Credits “Aiwa CX-930 VHS VCR Video Cassette Recorder.wav” by Pixabay “Underwater Ambience” by Pixabay “waves crashing into shore parkdale beach” by Pixabay Movie Wave is a part of Pie Hat Productions.
It's a monster mash on this fresh from the grave episode of DEATH BY DVD all about FRANKY AND HIS PALS, directed by Gerald Cormier. What is Franky And His Pals, you ask? Well, let us copy and paste the write up from the official Severinfilms.com website where this movie is available to purchase, because we are to lazy to write something up ourselves and theirs is way better : From the deepest, darkest depths of the shot-on-video vaults… Hidden from view for 30 years… All your favorite movie monsters are back… And they're ready to party like it's 1990! Franky, Drak, Wolfy, Mummy and Humper – the horny hunchback – descend on the tiny mining town of French Gulch in search of lost gold, but it's Halloween Night, and the monsters soon find themselves caught up in the debaucherous festivities of the local townsfolk. Will Franky and His Pals find the gold? Will they learn the ways of love? Will Drak quench his thirst for human blood? Just how explosive is Franky's flatulence? What's that Mad Scientist tinkering on out in his barn? What the hell is a pee-pee? And does any of it really matter? Directed by veteran grindhouse and adult film producer Gerald Cormier (TERROR CIRCUS a.k.a. BARN OF THE NAKED DEAD, 101 ACTS OF LOVE) and seldom-seen beyond the shelves of small-town video shops, this bizarro monster-comedy is finally being resurrected on DVD and is positively exploding with spooky Special Features!And since I copy and pasted all that from Severin, the least I can do is also add the link so you can buy the movie : TAP HERE FOR THE MOVIEDive into the monster mash with your host Harry-Scott Sullivan and kick back and relax with this hoot and an additional hollar of an episode. Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
We review Wild Things (1998) on movie podcast The Collector's Cut. Wild Things is directed by John McNaughton and stars Kevin Bacon, Matt Dillon, Neve Campbell, Theresa Russell, Denise Richards, Bill Murray patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight all links: https://linktr.ee/mildfuzz Audio version: https://the-collectors-cut.pinecast.co/
HAPPY HALLOWEEN! On this episode we reach the end of our 2024 celebration of Halloween with THE SOUNDS OF SATAN! The music of Death By DVD and music inspired by Death By DVD will haunt your ears! We discuss 15 years of the sounds of Death By DVD and play you a tremendous track that will make your ears bleed recorded special just for Death By DVD by the brutal band SATANIC HEARSE. Click play and hear it today! Thank you for choosing death, and once more, HAPPY HALLOWEEN! HEAR A SONG FROM SATANIC HEARSE TODAY. Tap here or copy and paste the link below : https://music.apple.com/us/album/satanic-hearse-is-coming/1734361543Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★ ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloween's Of The Past continues with this episode originally from 2021! This was in fact the 2021 Halloween Special! Frightful Fables To Fear At Night is a collection of thrilling short stories read by Death By DVD's very own host, Harry-Scott Sullivan. Happy Halloween! We hope you have been enjoying these blast from the past episodes highlighting the best of Death By DVD's spooky season celebrations of the past. It's almost Halloween! Be sure to stay tuned for new music from the band SATANIC HEARSE that will be played for you on October 31st here on Death By DVD! HEAR A SONG FROM SATANIC HEARSE TODAY. Tap here or copy and paste the link below : https://music.apple.com/us/album/satanic-hearse-is-coming/1734361543WHAT IS SEASONS OF THE WITCH : HALLOWEEN'S OF THE PAST??? To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! Stay tuned for the next installment of Seasons Of The Witch, coming soon! NEED MORE DEATH? Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★ ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloween's Of The Past continues with this episode originally from 2022. Filmmaker Hunter Johnson joins Death By DVD for the ultimate deep dive into their art! Learn all about the films Hunter Johnson has directed, written and acted in on this blast from the past episode celebrating Halloween 2024 with some of our greatest hits from the grave, co-hosted by Hunter Johnson themself! There may just be another special guest on this episode, too! You will just have to hit play and find out for yourself. Interested in learning MORE about Hunter? Be sure to visit their website https://lahorror.com/WHAT IS SEASONS OF THE WITCH : HALLOWEEN'S OF THE PAST??? To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! Stay tuned for the next installment of Seasons Of The Witch, coming soon! NEED MORE DEATH? Check out the official YOUTUBE of Death By DVD and see our brand new program, TRAILER PARK! The greatest movie trailer compilation of all time. Tap here to visit our YOUTUBE or copy and paste the link below : https://www.youtube.com/@DeathByDVDHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloween's Of The Past continues with this episode originally from 2022. Death By DVD is joined by musician THE Linus Fitness-Centre and Justin Oberholtzer of the Watch/Skip+ podcast to discuss the ENTIRE Halloween series, 1978 - 2022, all the while ranking them as well! IT'S SO MUCH MICHAEL MYERS YOU'LL PUKE! This blast from the past is one of the longest episodes in the history of the show and chock full 'o' horror goodness. Celebrate the season of the witch with Death By DVD and hit play on this tale from the crypt today!WHAT IS SEASONS OF THE WITCH : HALLOWEEN'S OF THE PAST??? To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! Stay tuned for the next installment of Seasons Of The Witch, coming soon! Need more Death? Hear my exclusive interview with underground artist CHRISTOPHER BICKEL and learn more about their work and the film PATER NOSTER AND THE MISSION OF LIGHT today! Tap here or copy and paste the link belowhttps://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
Seasons Of The Witch : Halloweens Of Yesterday is the Death By DVD 2024 Halloween celebration. You may have heard recently that we will not have new episodes for a while - but somehow that has not stopped us from having new episodes! To celebrate the Season Of The Witch, we present to you remastered episodes from our Halloween Vault. Death By DVD has been around since 2009, so we have a lot of Halloween shows chock full of terror and special guests! This episode originally comes from 2021 and is hosted by our dearly departed former leader Hank The Worlds greatest. You can find a link to hear all about his horrible murder below! We've got BLOOD FREAK (1972) and INVADERS FROM MARS (1986) that are discussed on this tale from the crypt! We hope you enjoy this blast from the past episode featuring 3 special guests and Death By DVD's original hosts. Keep your eyes and ears peeled for the next installment of Seasons Of The Witch : Halloweens Of Yesterday, coming soon! Need more Death? Hear my exclusive interview with underground artist CHRISTOPHER BICKEL and learn more about their work and upcoming film PATER NOSTER AND THE MISSION OF LIGHT today! Tap here or copy and paste the link belowhttps://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank ★ Support this podcast on Patreon ★
On the last episode of Death By DVD we had a major announcement to make. Now, on this episode, once more, we've got an announcement to make! Hear all about Death By DVD's 2024 Halloween treats on this brief commercial outlining all the horror coming to you, soon! Click play and hear the good word today! Need more Death? Hear my exclusive interview with underground artist CHRISTOPHER BICKEL and learn more about their work and upcoming film PATER NOSTER AND THE MISSION OF LIGHT today! Tap here or copy and paste the link belowhttps://listentodeathbydvd.transistor.fm/episodes/death-by-dvd-presents-six-feet-under-the-underground-art-of-christopher-bickelHAVE YOU HEARD DEATH BY DVD GOES TO THE MOVIE? Hear the thrilling tale of your faithful host Harry-Scott Sullivan's adventure to Augusta, Georgia to see the cast and crew premiere of an all new independent horror film called LEFT ONE ALIVE.Hear all three parts, or read the story exclusively at deathbydvd.com. Tap here to learn more, or copy and paste the link belowhttps://deathbydvd.com/goes-to-the-moviesDid you know that you can watch episodes of DEATH BY DVD and much much more on the official Patreon of Death By DVD? ★ Support this podcast on Patreon ★ subscribe to our newsletter today for updates on new episodes, merch discounts and more at www.deathbydvd.comHEY, while you're still here.. have you heard...DEATH BY DVD PRESENTS : WHO SHOT HANK?The first of its kind, (On this show, at least) an all original narrative audio drama exploring the murder of this shows very host, HANK THE WORLDS GREATEST! Explore WHO SHOT HANK, starting with the MURDER! A Death By DVD New Year Mystery WHO SHOT HANK : PART ONE WHO SHOT HANK : PART TWO WHO SHOT HANK : PART THREE WHO SHOT HANK : PART FOUR WHO SHOT HANK PART 5 : THE BEGINNING OF THE ENDWHO SHOT HANK PART 6 THE FINALE : EXEUNT OMNES or copy and paste the link below : https://deathbydvd.com/who-shot-hank
I GOT SOMETHIN' TO SAY! Well, a coupla somethin's, really. A shocking update about Death By DVD, some sick Satanic sounds AND Pater Noster & The Mission Of Light discussed on this fresh from the grave episode that you really should hear. I'm workin' on something much bigger than this program and I tell you all about (what I can tell you) it, so quit reading and hit play now! TAP HERE TO WATCH PATER NOSTER AND THE MISSION OF LIFE FOR JUST 4 BUCKS (or copy and paste the link below)https://www.indiegogo.com/projects/pater-noster-and-the-mission-of-light-horror-film#/ ★ Support this podcast on Patreon ★
I have a truly special episode for you, this time! Death By DVD proudly presents : John Valley And The Art Of Independent Cinema! Writer, director, actor (he does it all and more!) John Valley joins Death By DVD for a full episode exploring the art of John Valley, his film THE PIZZAGATE MASSACRE, the art of independent cinema, what it's like to make movies, what it's like to direct movies AND MORE! This episode believe it or not is Death By DVD's very first IN PERSON interview. This was recorded with your faithful host Harry-Scott Sullivan & John Valley while on location in Columbia, South Carolina earlier this year. I hope you take a moment or two, or three, or the entire hour and join me for this very special episode featuring an artist I sincerely believe in. TAP HERE TO WACH JOHN VALLEY'S FILM THE PIZZAGATE MASSACRE FREE ON TUBI (or copy and paste the link below)https://tubitv.com/movies/688033/the-pizzagate-massacreTAP HERE TO WATCH JOHN VALLEY'S FILM THE PIZZAGATE MASSACRE FREE ON AMAZON (or copy and paste the link below)https://www.amazon.com/Pizzagate-Massacre-Tinus-Seaux/dp/B09JLMR2G5TAP HERE FOR THE OFFICIAL WEBSITE OF THE PIZZAGATE MASSACRE (or copy and pate the link below)https://thepizzagatemassacre.com/TAP HERE TO VISIT THE OFFICIAL WEBSITE OF JOHN VALLEY (or copy and paste the link below)https://www.johnvalleyworks.com/ ★ Support this podcast on Patreon ★
This week we discuss Nicolas Roeg's period drama Eureka, starring Gene Hackman, Theresa Russell, and Rutger Hauer.Plus: Wynton Marsalis, washroom attendants, and James's recent trip to London.LINKS:Trailer for EurekaWynton Marsalis does Louis ArmstrongThe WolseleyClimax of The Natural (Randy Newman)
Wellness in San Diego: Food, Movement, Spirituality + Wellbeing
This week we're joined by Katie McGinley, the founder of Post Pamper, San Diego's first postpartum retreat. Post Pamper offers retreats that range from 3 to 7 nights at luxury hotels in San Diego. During their stay, families receive 24/7 postpartum care from certified doulas, healthy meals, lactation support, and more. Tune in as Marta and Katie discuss: The gap in postpartum care: In the United States, there is a significant gap in postpartum care for new families. Post Pamper aims to fill this gap by providing comprehensive support during a critical time. The benefits of postpartum retreats: Postpartum retreats can offer families a chance to rest, recover, and bond with their newborn in a luxurious and supportive environment. What Post Pamper offers: Post Pamper offers a variety of services to support families during their stay, including 24/7 doula care, lactation consulting, in-room physical therapy, and mental health support. Episode resources: Post Pamper: Website | Instagram Where to Find Postpartum Support in San Diego San Diego Postpartum Health Alliance Season 1, Ep 17: Holistic Maternal Care with Tourmaline Birth + Wellness Collective Season 1, Ep 9: Intentional Organization with Theresa Russell 7 Simple Spring Cleaning Hacks Join our newsletter! The Wellness in San Diego podcast is produced by Locally Well San Diego, your local news source covering health + wellness news + events in San Diego. Get the latest at locallywell.com or follow @locallywell.
Silverado is an 80s western that Jason hates so much he wanted to do a two and a half hour podcast about it. Of course, Jason and Todd barely talk about the movie at all, instead talking about Theresa Russell, the importance of the audition process, and then get in a debate about Mary Elizabeth Mastrantonio and Julianna Margulies. Also they talk about crying.
Black Friday is gone but maybe Cyber Monday will extend to add these titles to your shopping list or your personal library. Peter Sobczynski joins Erik Childress to talk about remastered films from Bernardo Bertolucci, Michael Mann and an ‘80s cult classic from Fred Dekker and Shane Black. There are films with early roles for Annette Bening, Theresa Russell and a campy sci-fi classic with Jane Fonda. We've got a Peppard alert! Plus maybe one of the better horror anthologies, one of the better straight-to-video sequels and, without debate, one of the funniest films of all-time getting the 4K upgrade. 0:00 - Intro 2:17 - Arrow Films (Barbarella (4K), Blackhat (4K), Tremors 2: Aftershocks (4K)) 27:57 - RaroVideo (The Conformist) 30:58 - Kino (The Emerald Forest, The Last Tycoon, The Carpetbaggers, Valmont, The Monster Squad (4K)) 1:00:13 - Shout! Factory (Death Wish (NEW) (4K), Tales from the Darkside: The Movie (4K)) 1:20:18 - Paramount (The Naked Gun (4K)) 1:31:16 – New Theatrical and TV Titles 1:34:52 - New Blu-ray Announcements 1:37:09 - Outro
We continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----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 finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988. But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987. I was wrong. While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days. Sorry for the misinformation. 1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win. But before we get to those two movies, there's a whole bunch of others to talk about first. Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there. Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her. Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k. A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature. In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it. But that ad may have been a bit premature. While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k. March 18th saw the release of a truly unique film. Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments. That is Aria. If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom. Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive. It's easy to see what might have attracted Harvey Weinstein to acquire the film. Nudity. And lots of it. Including from a 21 year old Hurley, and a 22 year old Fonda. Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City. But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres. As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it. Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k. There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k. Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad? Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen. Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next? Yep. No reported grosses, no theatres playing the film tracked by Variety. The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own. On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street. And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported. Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States. Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film. The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated. After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world. Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week. The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500. There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it. One week after Mio, Miramax would release a comedy called Going Undercover. Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day. So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies. She hadn't. This was a movie she had made just before Back to the Future, in August and September 1984. Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen. The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice. Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area. The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks. Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor. Or that was line of thinking. Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film. But that didn't make it any easier to sell his film. The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors. As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well. The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles. In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do. The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made. Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own. Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982. But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat. One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder. After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth. After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.” Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary. Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note. “Heard your NPR interview and you were boring.” Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question. It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out. And it would get it. The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review. New York audiences were hooked. Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before. I went and saw it again. Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film. The film would also find itself in several more controversies. Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed. Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights. Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.” Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011. Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry. In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs. The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director. The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights. Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines. “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.” That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area. Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k. In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away. Miramax would finish 1988 with two releases. The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter. When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star. The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star. But that wouldn't happen. Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns. I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration. And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit. Miramax's last film of the year would be the one that changed everything for them. Pelle the Conquerer. Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date. In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world. For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen. After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals. Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor. Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States. Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors. The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen. But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up. Well, for a foreign film. The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win. One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition. I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle. Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, 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 continue our miniseries on the 1980s movies distributed by Miramax Films, with a look at the films released in 1988. ----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 finally continue with the next part of our look back at the 1980s movies distributed by Miramax Films, specifically looking at 1988. But before we get there, I must issue another mea culpa. In our episode on the 1987 movies from Miramax, I mentioned that a Kiefer Sutherland movie called Crazy Moon never played in another theatre after its disastrous one week Oscar qualifying run in Los Angeles in December 1987. I was wrong. While doing research on this episode, I found one New York City playdate for the film, in early February 1988. It grossed a very dismal $3200 at the 545 seat Festival Theatre during its first weekend, and would be gone after seven days. Sorry for the misinformation. 1988 would be a watershed year for the company, as one of the movies they acquired for distribution would change the course of documentary filmmaking as we knew it, and another would give a much beloved actor his first Academy Award nomination while giving the company its first Oscar win. But before we get to those two movies, there's a whole bunch of others to talk about first. Of the twelve movies Miramax would release in 1988, only four were from America. The rest would be a from a mixture of mostly Anglo-Saxon countries like the UK, Canada, France and Sweden, although there would be one Spanish film in there. Their first release of the new year, Le Grand Chemin, told the story of a timid nine-year-old boy from Paris who spends one summer vacation in a small town in Brittany. His mother has lodged the boy with her friend and her friend's husband while Mom has another baby. The boy makes friends with a slightly older girl next door, and learns about life from her. Richard Bohringer, who plays the friend's husband, and Anémone, who plays the pregnant mother, both won Cesars, the French equivalent to the Oscars, in their respective lead categories, and the film would be nominated for Best Foreign Language Film of 1987 by the National Board of Review. Miramax, who had picked up the film at Cannes several months earlier, waited until January 22nd, 1988, to release it in America, first at the Paris Theatre in midtown Manhattan, where it would gross a very impressive $41k in its first three days. In its second week, it would drop less than 25% of its opening weekend audience, bringing in another $31k. But shortly after that, the expected Oscar nomination for Best Foreign Language Film did not come, and business on the film slowed to a trickle. But it kept chugging on, and by the time the film finished its run in early June, it had grossed $541k. A week later, on January 29th, Miramax would open another French film, Light Years. An animated science fiction film written and directed by René Laloux, best known for directing the 1973 animated head trip film Fantastic Planet, Light Years was the story of an evil force from a thousand years in the future who begins to destroy an idyllic paradise where the citizens are in perfect harmony with nature. In its first three days at two screens in Los Angeles and five screens in the San Francisco Bay Area, Light Years would gross a decent $48,665. Miramax would print a self-congratulating ad in that week's Variety touting the film's success, and thanking Isaac Asimov, who helped to write the English translation, and many of the actors who lent their vocal talents to the new dub, including Glenn Close, Bridget Fonda, Jennifer Grey, Christopher Plummer, and Penn and Teller. Yes, Teller speaks. The ad was a message to both the theatre operators and the major players in the industry. Miramax was here. Get used to it. But that ad may have been a bit premature. While the film would do well in major markets during its initial week in theatres, audience interest would drop outside of its opening week in big cities, and be practically non-existent in college towns and other smaller cities. Its final box office total would be just over $370k. March 18th saw the release of a truly unique film. Imagine a film directed by Robert Altman and Bruce Beresford and Jean-Luc Godard and Derek Jarman and Franc Roddam and Nicolas Roeg and Ken Russell and Charles Sturridge and Julien Temple. Imagine a film that starred Beverly D'Angelo, Bridget Fonda in her first movie, Julie Hagerty, Buck Henry, Elizabeth Hurley and John Hurt and Theresa Russell and Tilda Swinton. Imagine a film that brought together ten of the most eclectic filmmakers in the world doing four to fourteen minute short films featuring the arias of some of the most famous and beloved operas ever written, often taken out of their original context and placed into strange new places. Like, for example, the aria for Verdi's Rigoletto set at the kitschy Madonna Inn in San Luis Obispo, where a movie producer is cheating on his wife while she is in a nearby room with a hunky man who is not her husband. Imagine that there's almost no dialogue in the film. Just the arias to set the moments. That is Aria. If you are unfamiliar with opera in general, and these arias specifically, that's not a problem. When I saw the film at the Nickelodeon Theatre in Santa Cruz in June 1988, I knew some Wagner, some Puccini, and some Verdi, through other movies that used the music as punctuation for a scene. I think the first time I had heard Nessun Dorma was in The Killing Fields. Vesti La Giubba in The Untouchables. But this would be the first time I would hear these arias as they were meant to be performed, even if they were out of context within their original stories. Certainly, Wagner didn't intend the aria from Tristan und Isolde to be used to highlight a suicide pact between a young couple killing themselves in a Las Vegas hotel bathroom. Aria definitely split critics when it premiered at the 1987 Cannes Film Festival, when it competed for the festival's main prize, the Palme D'Or. Roger Ebert would call it the first MTV opera and felt the filmmakers were poking fun at their own styles, while Leonard Maltin felt most of the endeavor was a waste of time. In the review for the New York Times, Janet Maslin would also make a reference to MTV but not in a positive way, and would note the two best parts of the film were the photo montage that is seen over the end credits, and the clever licensing of Chuck Jones's classic Bugs Bunny cartoon What's Opera, Doc, to play with the film, at least during its New York run. In the Los Angeles Times, the newspaper chose one of its music critics to review the film. They too would compare the film to MTV, but also to Fantasia, neither reference meant to be positive. It's easy to see what might have attracted Harvey Weinstein to acquire the film. Nudity. And lots of it. Including from a 21 year old Hurley, and a 22 year old Fonda. Open at the 420 seat Ridgemont Theatre in Seattle on March 18th, 1988, Aria would gross a respectable $10,600. It would be the second highest grossing theatre in the city, only behind The Unbearable Lightness of Being, which grossed $16,600 in its fifth week at the 850 seat Cinerama Theatre, which was and still is the single best theatre in Seattle. It would continue to do well in Seattle, but it would not open until April 15th in Los Angeles and May 20th in New York City. But despite some decent notices and the presence of some big name directors, Aria would stiff at the box office, grossing just $1.03m after seven months in theatres. As we discussed on our previous episode, there was a Dennis Hopper movie called Riders on the Storm that supposedly opened in November 1987, but didn't. It did open in theatres in May of 1988, and now we're here to talk about it. Riders on the Storm would open in eleven theatres in the New York City area on May 7th, including three theatres in Manhattan. Since Miramax did not screen the film for critics before release, never a good sign, the first reviews wouldn't show up until the following day, since the critics would actually have to go see the film with a regular audience. Vincent Canby's review for the New York Times would arrive first, and surprisingly, he didn't completely hate the film. But audiences didn't care. In its first weekend in New York City, Riders on the Storm would gross an anemic $25k. The following Friday, Miramax would open the film at two theatres in Baltimore, four theatres in Fort Worth TX (but surprisingly none in Dallas), one theatre in Los Angeles and one theatre in Springfield OH, while continuing on only one screen in New York. No reported grosses from Fort Worth, LA or Springfield, but the New York theatre reported ticket sales of $3k for the weekend, a 57% drop from its previous week, while the two in Baltimore combined for $5k. There would be more single playdates for a few months. Tampa the same week as New York. Atlanta, Charlotte, Des Moines and Memphis in late May. Cincinnati in late June. Boston, Calgary, Ottawa and Philadelphia in early July. Greenville SC in late August. Evansville IL, Ithaca NY and San Francisco in early September. Chicago in late September. It just kept popping up in random places for months, always a one week playdate before heading off to the next location. And in all that time, Miramax never reported grosses. What little numbers we do have is from the theatres that Variety was tracking, and those numbers totaled up to less than $30k. Another mostly lost and forgotten Miramax release from 1988 is Caribe, a Canadian production that shot in Belize about an amateur illegal arms trader to Central American terrorists who must go on the run after a deal goes down bad, because who wants to see a Canadian movie about an amateur illegal arms trader to Canadian terrorists who must go on the run in the Canadian tundra after a deal goes down bad? Kara Glover would play Helen, the arms dealer, and John Savage as Jeff, a British intelligence agent who helps Helen. Caribe would first open in Detroit on May 20th, 1988. Can you guess what I'm going to say next? Yep. No reported grosses, no theatres playing the film tracked by Variety. The following week, Caribe opens in the San Francisco Bay Area, at the 300 seat United Artists Theatre in San Francisco, and three theatres in the South Bay. While Miramax once again did not report grosses, the combined gross for the four theatres, according to Variety, was a weak $3,700. Compare that to Aria, which was playing at the Opera Plaza Cinemas in its third week in San Francisco, in an auditorium 40% smaller than the United Artist, grossing $5,300 on its own. On June 3rd, Caribe would open at the AMC Fountain Square 14 in Nashville. One show only on Friday and Saturday at 11:45pm. Miramax did not report grosses. Probably because people we going to see Willie Tyler and Lester at Zanie's down the street. And again, it kept cycling around the country, one or two new playdates in each city it played in. Philadelphia in mid-June. Indianapolis in mid-July. Jersey City in late August. Always for one week, grosses never reported. Miramax's first Swedish release of the year was called Mio, but this was truly an international production. The $4m film was co-produced by Swedish, Norwegian and Russian production companies, directed by a Russian, adapted from a Swedish book by an American screenwriter, scored by one of the members of ABBA, and starring actors from England, Finland, Norway, Russia, Sweden and the United States. Mio tells the story of a boy from Stockholm who travels to an otherworldly fantasy realm and frees the land from an evil knight's oppression. What makes this movie memorable today is that Mio's best friend is played by none other than Christian Bale, in his very first film. The movie was shot in Moscow, Stockholm, the Crimea, Scotland, and outside Pripyat in the Northern part of what is now Ukraine, between March and July 1986. In fact, the cast and crew were shooting outside Pripyat on April 26th, when they got the call they needed to evacuate the area. It would be hours later when they would discover there had been a reactor core meltdown at the nearby Chernobyl Nuclear Power Plant. They would have to scramble to shoot in other locations away from Ukraine for a month, and when they were finally allowed to return, the area they were shooting in deemed to have not been adversely affected by the worst nuclear power plant accident in human history,, Geiger counters would be placed all over the sets, and every meal served by craft services would need to be read to make sure it wasn't contaminated. After premiering at the Moscow Film Festival in July 1987 and the Norwegian Film Festival in August, Mio would open in Sweden on October 16th, 1987. The local critics would tear the film apart. They hated that the filmmakers had Anglicized the movie with British actors like Christopher Lee, Susannah York, Christian Bale and Nicholas Pickard, an eleven year old boy also making his film debut. They also hated how the filmmakers adapted the novel by the legendary Astrid Lindgren, whose Pippi Longstocking novels made her and her works world famous. Overall, they hated pretty much everything about it outside of Christopher Lee's performance and the production's design in the fantasy world. Miramax most likely picked it up trying to emulate the success of The Neverending Story, which had opened to great success in most of the world in 1984. So it might seem kinda odd that when they would open the now titled The Land of Faraway in theatres, they wouldn't go wide but instead open it on one screen in Atlanta GA on June 10th, 1988. And, once again, Miramax did not report grosses, and Variety did not track Atlanta theatres that week. Two weeks later, they would open the film in Miami. How many theatres? Can't tell you. Miramax did not report grosses, and Variety was not tracking any of the theatres in Miami playing the film. But hey, Bull Durham did pretty good in Miami that week. The film would next open in theatres in Los Angeles. This time, Miramax bought a quarter page ad in the Los Angeles Times on opening day to let people know the film existed. So we know it was playing on 18 screens that weekend. And, once again, Miramax did not report grosses for the film. But on the two screens it played on that Variety was tracking, the combined gross was just $2,500. There'd be other playdates. Kansas City and Minneapolis in mid-September. Vancouver, BC in early October. Palm Beach FL in mid October. Calgary AB and Fort Lauderdale in late October. Phoenix in mid November. And never once did Miramax report any grosses for it. One week after Mio, Miramax would release a comedy called Going Undercover. Now, if you listened to our March 2021 episode on Some Kind of Wonderful, you may remember be mentioning Lea Thompson taking the role of Amanda Jones in that film, a role she had turned down twice before, the week after Howard the Duck opened, because she was afraid she'd never get cast in a movie again. And while Some Kind of Wonderful wasn't as big a film as you'd expect from a John Hughes production, Thompson did indeed continue to work, and is still working to this day. So if you were looking at a newspaper ad in several cities in June 1988 and saw her latest movie and wonder why she went back to making weird little movies. She hadn't. This was a movie she had made just before Back to the Future, in August and September 1984. Originally titled Yellow Pages, the film starred film legend Jean Simmons as Maxine, a rich woman who has hired Chris Lemmon's private investigator Henry Brilliant to protect her stepdaughter Marigold during her trip to Copenhagen. The director, James Clarke, had written the script specifically for Lemmon, tailoring his role to mimic various roles played by his famous father, Jack Lemmon, over the decades, and for Simmons. But Thompson was just one of a number of young actresses they looked at before making their casting choice. Half of the $6m budget would come from a first-time British film producer, while the other half from a group of Danish investors wanting to lure more Hollywood productions to their area. The shoot would be plagued by a number of problems. The shoot in Los Angeles coincided with the final days of the 1984 Summer Olympics, which would cut out using some of the best and most regularly used locations in the city, and a long-lasting heat wave that would make outdoor shoots unbearable for cast and crew. When they arrived in Copenhagen at the end of August, Denmark was going through an unusually heavy storm front that hung around for weeks. Clarke would spend several months editing the film, longer than usual for a smaller production like this, but he in part was waiting to see how Back to the Future would do at the box office. If the film was a hit, and his leading actress was a major part of that, it could make it easier to sell his film to a distributor. Or that was line of thinking. Of course, Back to the Future was a hit, and Thompson received much praise for her comedic work on the film. But that didn't make it any easier to sell his film. The producer would set the first screenings for the film at the February 1986 American Film Market in Santa Monica, which caters not only to foreign distributors looking to acquire American movies for their markets, but helps independent filmmakers get their movies seen by American distributors. As these screenings were for buyers by invitation only, there would be no reviews from the screenings, but one could guess that no one would hear about the film again until Miramax bought the American distribution rights to it in March 1988 tells us that maybe those screenings didn't go so well. The film would get retitled Going Undercover, and would open in single screen playdates in Atlanta, Cincinnati, Dallas, Indianapolis, Los Angeles, Nashville, Orlando, St. Louis and Tampa on June 17th. And as I've said too many times already, no reported grosses from Miramax, and only one theatre playing the film was being tracked by Variety, with Going Undercover earning $3,000 during its one week at the Century City 14 in Los Angeles. In the June 22nd, 1988 issue of Variety, there was an article about Miramax securing a $25m line of credit in order to start producing their own films. Going Undercover is mentioned in the article about being one of Miramax's releases, without noting it had just been released that week or how well it did or did not do. The Thin Blue Line would be Miramax's first non-music based documentary, and one that would truly change how documentaries were made. Errol Morris had already made two bizarre but entertaining documentaries in the late 70s and early 80s. Gates of Heaven was shot in 1977, about a man who operated a failing pet cemetery in Northern California's Napa Valley. When Morris told his famous German filmmaking supporter Werner Herzog about the film, Herzog vowed to eat one of the shoes he was wearing that day if Morris could actually complete the film and have it shown in a public theatre. In April 1979, just before the documentary had its world premiere at UC Theatre in Berkeley, where Morris had studied philosophy, Herzog would spend the morning at Chez Pannise, the creators of the California Cuisine cooking style, boiling his shoes for five hours in garlic, herbs and stock. This event itself would be commemorated in a documentary short called, naturally, Werner Herzog Eats His Shoe, by Les Blank, which is a must watch on its own. Because of the success of Gates of Heaven, Morris was able to quickly find financing for his next film, Nub City, which was originally supposed to be about the number of Vernon, Florida's citizens who have “accidentally” cut off their limbs, in order to collect the insurance money. But after several of those citizens threatened to kill Morris, and one of them tried to run down his cinematographer with their truck, Morris would rework the documentary, dropping the limb angle, no pun intended, and focus on the numerous eccentric people in the town. It would premiere at the 1981 New York Film Festival, and become a hit, for a documentary, when it was released in theatres in 1982. But it would take Morris another six years after completing Vernon, Florida, to make another film. Part of it was having trouble lining up full funding to work on his next proposed movie, about James Grigson, a Texas forensic psychiatrist whose was nicknamed Doctor Death for being an expert witness for the prosecution in death penalty cases in Texas. Morris had gotten seed money for the documentary from PBS and the Endowment for Public Arts, but there was little else coming in while he worked on the film. In fact, Morris would get a PI license in New York and work cases for two years, using every penny he earned that wasn't going towards living expenses to keep the film afloat. One of Morris's major problems for the film was that Grigson would not sit on camera for an interview, but would meet with Morris face to face to talk about the cases. During that meeting, the good doctor suggested to the filmmaker that he should research the killers he helped put away. And during that research, Morris would come across the case of one Randall Dale Adams, who was convicted of killing Dallas police officer Robert Wood in 1976, even though another man, David Harris, was the police's initial suspect. For two years, Morris would fly back and forth between New York City and Texas, talking to and filming interviews with Adams and more than two hundred other people connected to the shooting and the trial. Morris had become convinced Adams was indeed innocent, and dropped the idea about Dr. Grigson to solely focus on the Robert Wood murder. After showing the producers of PBS's American Playhouse some of the footage he had put together of the new direction of the film, they kicked in more funds so that Morris could shoot some re-enactment sequences outside New York City, as well as commission composer Phillip Glass to create a score for the film once it was completed. Documentaries at that time did not regularly use re-enactments, but Morris felt it was important to show how different personal accounts of the same moment can be misinterpreted or misremembered or outright manipulated to suppress the truth. After the film completed its post-production in March 1988, The Thin Blue Line would have its world premiere at the San Francisco Film Festival on March 18th, and word quickly spread Morris had something truly unique and special on his hands. The critic for Variety would note in the very first paragraph of his write up that the film employed “strikingly original formal devices to pull together diverse interviews, film clips, photo collages, and” and this is where it broke ground, “recreations of the crime from many points of view.” Miramax would put together a full court press in order to get the rights to the film, which was announced during the opening days of the 1988 Cannes Film Festival in early May. An early hint on how the company was going to sell the film was by calling it a “non-fiction feature” instead of a documentary. Miramax would send Morris out on a cross-country press tour in the weeks leading up to the film's August 26th opening date, but Morris, like many documentary filmmakers, was not used to being in the spotlight themselves, and was not as articulate about talking up his movies as the more seasoned directors and actors who've been on the promotion circuit for a while. After one interview, Harvey Weinstein would send Errol Morris a note. “Heard your NPR interview and you were boring.” Harvey would offer up several suggestions to help the filmmaker, including hyping the movie up as a real life mystery thriller rather than a documentary, and using shorter and clearer sentences when answering a question. It was a clear gamble to release The Thin Blue Line in the final week of summer, and the film would need a lot of good will to stand out. And it would get it. The New York Times was so enthralled with the film, it would not only run a review from Janet Maslin, who would heap great praise on the film, but would also run a lengthy interview with Errol Morris right next to the review. The quarter page ad in the New York Times, several pages back, would tout positive quotes from Roger Ebert, J. Hoberman, who had left The Village Voice for the then-new Premiere Magazine, Peter Travers, writing for People Magazine instead of Rolling Stone, and critics from the San Francisco Chronicle and, interestingly enough, the Dallas Morning News. The top of the ad was tagged with an intriguing tease: solving this mystery is going to be murder, with a second tag line underneath the key art and title, which called the film “a new kind of movie mystery.” Of the 15 New York area-based film critics for local newspapers, television and national magazines, 14 of them gave favorable reviews, while 1, Stephen Schiff of Vanity Fair, was ambivalent about it. Not one critic gave it a bad review. New York audiences were hooked. Opening in the 240 seat main house at the Lincoln Plaza Cinemas, the movie grossed $30,945 its first three days. In its second weekend, the gross at the Lincoln Plaza would jump to $31k, and adding another $27,500 from its two theatre opening in Los Angeles and $15,800 from a single DC theatre that week. Third week in New York was a still good $21k, but the second week in Los Angeles fell to $10,500 and DC to $10k. And that's how it rolled out for several months, mostly single screen bookings in major cities not called Los Angeles or New York City, racking up some of the best reviews Miramax would receive to date, but never breaking out much outside the major cities. When it looked like Santa Cruz wasn't going to play the film, I drove to San Francisco to see it, just as my friends and I had for the opening day of Martin Scorsese's The Last Temptation of Christ in mid-August. That's 75 miles each way, plus parking in San Francisco, just to see a movie. That's when you know you no longer just like movies but have developed a serious case of cinephilea. So when The Nickelodeon did open the film in late November, I did something I had never done with any documentary before. I went and saw it again. Second time around, I was still pissed off at the outrageous injustice heaped upon Randall Dale Adams for nothing more than being with and trusting the wrong person at the wrong time. But, thankfully, things would turn around for Adams in the coming weeks. On December 1st, it was reported that David Harris had recanted his testimony at Adams' trial, admitting he was alone when Officer Wood stopped his car. And on March 1st, 1989, after more than 15,000 people had signed the film's petition to revisit the decision, the Texas Court of Criminal Appeals overturned Adams's conviction “based largely” on facts presented in the film. The film would also find itself in several more controversies. Despite being named The Best Documentary of the Year by a number of critics groups, the Documentary Branch of the Academy of Motion Pictures Arts and Sciences would not nominate the film, due in large part to the numerous reenactments presented throughout the film. Filmmaker Michael Apted, a member of the Directors Branch of the Academy, noted that the failure to acknowledge The Thin Blue Line was “one of the most outrageous things in the modern history of the Academy,” while Roger Ebert added the slight was “the worst non-nomination of the year.” Despite the lack of a nomination, Errol Morris would attend the Oscars ceremony in March 1989, as a protest for his film being snubbed. Morris would also, several months after Adams' release, find himself being sued by Adams, but not because of how he was portrayed in the film. During the making of the film, Morris had Adams sign a contract giving Morris the exclusive right to tell Adams's story, and Adams wanted, essentially, the right to tell his own story now that he was a free man. Morris and Adams would settle out of court, and Adams would regain his life rights. Once the movie was played out in theatres, it had grossed $1.2m, which on the surface sounds like not a whole lot of money. Adjusted for inflation, that would only be $3.08m. But even unadjusted for inflation, it's still one of the 100 highest grossing documentaries of the past forty years. And it is one of just a handful of documentaries to become a part of the National Film Registry, for being a culturally, historically or aesthetically significant film.” Adams would live a quiet life after his release, working as an anti-death penalty advocate and marrying the sister of one of the death row inmates he was helping to exonerate. He would pass away from a brain tumor in October 2010 at a courthouse in Ohio not half an hour from where he was born and still lived, but he would so disappear from the spotlight after the movie was released that his passing wasn't even reported until June 2011. Errol Morris would become one of the most celebrated documentarians of his generation, finally getting nominated for, and winning, an Oscar in 2003, for The Fog of War, about the life and times of Robert McNamara, Richard Nixon's Secretary of Defense during the Vietnam War era. The Fog of War would also be added to the National Film Registry in 2019. Morris would become only the third documentarian, after D.A. Pennebaker and Les Blank, to have two films on the Registry. In 1973, the senseless killings of five members of the Alday family in Donalsonville GA made international headlines. Four years later, Canadian documentarian Tex Fuller made an award-winning documentary about the case, called Murder One. For years, Fuller shopped around a screenplay telling the same story, but it would take nearly a decade for it to finally be sold, in part because Fuller was insistent that he also be the director. A small Canadian production company would fund the $1m CAD production, which would star Henry Thomas of E.T. fame as the fifteen year old narrator of the story, Billy Isaacs. The shoot began in early October 1987 outside Toronto, but after a week of shooting, Fuller was fired, and was replaced by Graeme Campbell, a young and energetic filmmaker for whom Murder One would be his fourth movie directing gig of the year. Details are sketchy as to why Fuller was fired, but Thomas and his mother Carolyn would voice concerns with the producers about the new direction the film was taking under its new director. The film would premiere in Canada in May 1988. When the film did well up North, Miramax took notice and purchased the American distribution rights. Murder One would first open in America on two screens in Los Angeles on September 9th, 1988. Michael Wilmington of the Los Angeles Times noted that while the film itself wasn't very good, that it still sprung from the disturbing insight about the crazy reasons people cross of what should be impassable moral lines. “No movie studio could have invented it!,” screamed the tagline on the poster and newspaper key art. “No writer could have imagined it! Because what happened that night became the most controversial in American history.” That would draw limited interest from filmgoers in Tinseltown. The two theatres would gross a combined $7k in its first three days. Not great but far better than several other recent Miramax releases in the area. Two weeks later, on September 23rd, Miramax would book Murder One into 20 theatres in the New York City metro region, as well as in Akron, Atlanta, Charlotte, Indianpolis, Nashville, and Tampa-St. Petersburg. In New York, the film would actually get some good reviews from the Times and the Post as well as Peter Travers of People Magazine, but once again, Miramax would not report grosses for the film. Variety would note the combined gross for the film in New York City was only $25k. In early October, the film would fall out of Variety's internal list of the 50 Top Grossing Films within the twenty markets they regularly tracked, with a final gross of just $87k. One market that Miramax deliberately did not book the film was anywhere near southwest Georgia, where the murders took place. The closest theatre that did play the film was more than 200 miles away. Miramax would finish 1988 with two releases. The first was Dakota, which would mark star Lou Diamond Phillips first time as a producer. He would star as a troubled teenager who takes a job on a Texas horse ranch to help pay of his debts, who becomes a sorta big brother to the ranch owner's young son, who has recently lost a leg to cancer, as he also falls for the rancher's daughter. When the $1.1m budgeted film began production in Texas in June 1987, Phillips had already made La Bamba and Stand and Deliver, but neither had yet to be released into theatres. By the time filming ended five weeks later, La Bamba had just opened, and Phillips was on his way to becoming a star. The main producers wanted director Fred Holmes to get the film through post-production as quickly as possible, to get it into theatres in the early part of 1988 to capitalize on the newfound success of their young star. But that wouldn't happen. Holmes wouldn't have the film ready until the end of February 1988, which was deemed acceptable because of the impending release of Stand and Deliver. In fact, the producers would schedule their first distributor screening of the film on March 14th, the Monday after Stand and Delivered opened, in the hopes that good box office for the film and good notices for Phillips would translate to higher distributor interest in their film, which sorta worked. None of the major studios would show for the screening, but a number of Indies would, including Miramax. Phillips would not attend the screening, as he was on location in New Mexico shooting Young Guns. I can't find any reason why Miramax waited nearly nine months after they acquired Dakota to get it into theatres. It certainly wasn't Oscar bait, and screen availability would be scarce during the busy holiday movie season, which would see a number of popular, high profile releases like Dirty Rotten Scoundrels, Ernest Saves Christmas, The Naked Gun, Rain Man, Scrooged, Tequila Sunrise, Twins and Working Girl. Which might explain why, when Miramax released the film into 18 theatres in the New York City area on December 2nd, they could only get three screens in all of Manhattan, the best being the nice but hardly first-rate Embassy 4 at Broadway and 47th. Or of the 22 screens in Los Angeles opening the film the same day, the best would be the tiny Westwood 4 next to UCLA or the Paramount in Hollywood, whose best days were back in the Eisenhower administration. And, yet again, Miramax did not report grosses, and none of the theatres playing the film was tracked by Variety that week. The film would be gone after just one week. The Paramount, which would open Dirty Rotten Scoundrels on the 14th, opted to instead play a double feature of Clara's Heart, with Whoopi Goldberg and Neil Patrick Harris, and the River Phoenix drama Running on Empty, even though neither film had been much of a hit. Miramax's last film of the year would be the one that changed everything for them. Pelle the Conquerer. Adapted from a 1910 Danish book and directed by Billie August, whose previous film Twist and Shout had been released by Miramax in 1986, Pelle the Conquerer would be the first Danish or Swedish movie to star Max von Sydow in almost 15 years, having spent most of the 70s and 80s in Hollywood and London starring in a number of major movies including The Exorcist, Three Days of the Condor, Flash Gordon,Conan the Barbarian, Never Say Never Again, and David Lynch's Dune. But because von Sydow would be making his return to his native cinema, August was able to secure $4.5m to make the film, one of the highest budgeted Scandinavian films to be made to date. In the late 1850s, an elderly emigrant Lasse and his son Pelle leave their home in Sweden after the death of the boy's mother, wanting to build a new life on the Danish island of Bornholm. Lasse finds it difficult to find work, given his age and his son's youth. The pair are forced to work at a large farm, where they are generally mistreated by the managers for being foreigners. The father falls into depression and alcoholism, the young boy befriends one of the bastard children of the farm owner as well as another Swedish farm worker, who dreams of conquering the world. For the title character of Pelle, Billie August saw more than 3,000 Swedish boys before deciding to cast 11 year old Pelle Hvenegaard, who, like many boys in Sweden, had been named for the character he was now going to play on screen. After six months of filming in the summer and fall of 1986, Billie August would finish editing Pelle the Conquerer in time for it to make its intended Christmas Day 1987 release date in Denmark and Sweden, where the film would be one of the biggest releases in either country for the entire decade. It would make its debut outside Scandinavia at the Cannes Film Festival in May 1988, where it had been invited to compete for the Palme D'Or. It would compete against a number of talented filmmakers who had come with some of the best films they would ever make, including Clint Eastwood with Bird, Claire Denis' Chocolat, István Szabó's Hanussen, Vincent Ward's The Navigator, and A Short Film About Killing, an expanded movie version of the fifth episode in Krzysztof Kieślowski's masterful miniseries Dekalog. Pelle would conquer them all, taking home the top prize from one of cinema's most revered film festivals. Reviews for the film out of Cannes were almost universally excellent. Vincent Canby, the lead film critic for the New York Times for nearly twenty years by this point, wouldn't file his review until the end of the festival, in which he pointed out that a number of people at the festival were scandalized von Sydow had not also won the award for Best Actor. Having previously worked with the company on his previous film's American release, August felt that Miramax would have what it took to make the film a success in the States. Their first moves would be to schedule the film for a late December release, while securing a slot at that September's New York Film Festival. And once again, the critical consensus was highly positive, with only a small sampling of distractors. The film would open first on two screens at the Lincoln Plaza Cinemas in midtown Manhattan on Wednesday, December 21st, following by exclusive engagements in nine other cities including Los Angeles, Philadelphia, San Francisco, Seattle and Washington DC, on the 23rd. But the opening week numbers weren't very good, just $46k from ten screens. And you can't really blame the film's two hour and forty-five minute running time. Little Dorrit, the two-part, four hour adaptation of the Charles Dickens novel, had been out nine weeks at this point and was still making nearly 50% more per screen. But after the new year, when more and more awards were hurled the film's way, including the National Board of Review naming it one of the best foreign films of the year and the Golden Globes awarding it their Best Foreign Language trophy, ticket sales would pick up. Well, for a foreign film. The week after the Motion Picture Academy awarded Pelle their award for Best Foreign Language Film, business for the film would pick up 35%, and a third of its $2m American gross would come after that win. One of the things that surprised me while doing the research for this episode was learning that Max von Sydow had never been nominated for an Oscar until he was nominated for Best Actor for Pelle the Conquerer. You look at his credits over the years, and it's just mind blowing. The Seventh Seal. Wild Strawberries. The Virgin Spring. The Greatest Story Ever Told. The Emigrants. The Exorcist. The Three Days of the Condor. Surely there was one performance amongst those that deserved recognition. I hate to keep going back to A24, but there's something about a company's first Oscar win that sends that company into the next level. A24 didn't really become A24 until 2016, when three of their movies won Oscars, including Brie Larson for Best Actress in Room. And Miramax didn't really become the Miramax we knew and once loved until its win for Pelle. Thank you for joining us. We'll talk again soon, when Episode 117, the fifth and final part of our miniseries on Miramax Films, 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.
A police detective uncovers a tangled conspiracy after rape allegations against a high school guidance counselor crumble in court. Directed by John McNaughton from a script written by Stephen Peters. Starring Neve Campbell, Denise Richards, Matt Dillon, Kevin Bacon, Theresa Russell and Bill Murray. FOLLOW US ON LETTERBOXD - Zach1983 & MattCrosby Thank you so much for listening! E-mail address: greatestpod@gmail.com Please follow the show on Twitter: @GreatestPod Subscribe on Apple Podcasts / Podbean This week's recommendations: Cop Car (Streaming rental)
SUBSCRIBE NOW for early access and exclusive bonus episodes at WWW.PATREON.COM/ROTTENREWIND Clint Eastwood and Sondra Locke made six films together over the course of a decade. They also had a tumultuous romantic partnership that culminated in a 19 month trial where Locke developed breast cancer. Locke, an Academy Award nominated actress, turned to directing in the late 80s, but was never able to achieve the notoriety she deserved because of her public falling out with Eastwood.Today on the podcast, we're looking back on their final collaboration together, the fourth entry in the "Dirty Harry" franchise, "Sudden Impact," as well as Locke's sophomore feature behind the camera, "Impulse." Critic and writer Jourdain Searles returns to the show for an in-depth conversation about the tragedy surrounding Locke's career and her mostly unseen directorial efforts.Why were we robbed of such a talented artist's future works? Was Sondra Locke the Polly Platt to Eastwood's Bogdanovich? How do reconcile an artist's off-screen behavior with their legendary career? What happens when Dirty Harry tackles rape culture? Why doesn't Theresa Russell work anymore? How the fuck do you pronounce George Dzundza's last name? Find out right now as we kick off our month-long descent into the seedy back alleys and underworlds of Vulgar Neo-Noir.
A look back at 1987's… BLACK WIDOW directed by Bob Rafelson and starring Debra Winger and Theresa Russell, also the film adaptation of Judy Blume's, ARE YOU THERE GOD? IT'S ME MARGARET. Email us at: cinemaxers@talkradioone.com Follow us on Facebook: @cinemaxers weekly podcast on talkradioone.com [...]
In this episode Theresa Russell shares her inspiring journey from being a single mother at 17 to becoming a successful entrepreneur, coach, and marathon runner. Despite lacking athleticism as a child, Theresa found her passion for running later in life and has since completed multiple half marathons and a full marathon. We talk about the importance of stepping out of our comfort zone and taking on challenges, whether it be in school or in life. And about having a positive attitude towards failure and how it can lead to new opportunities and growth. As a coach for women going through perimenopause and menopause, Theresa also emphasizes the importance of movement and eating right in controlling symptoms. She runs challenges in a private Facebook group to encourage accountability and support (https://www.facebook.com/groups/easethrumenopausenaturally). Theresa shares her experience with overcoming fears related to certain races and staying motivated by inspiring others. Running has helped her cope with stress during difficult times, such as when her father was sick. Her next running goal is to run the Berlin Marathon in September. Her journey is a testament to the power of resilience and perseverance in overcoming challenges and finding strength through running.The book Theresa is featured in - Global Conscious Entrepreneurs: 49 Entrepreneurs Changing the World https://a.co/d/3Kwk04A Theresa's Instagram - https://www.instagram.com/theresalesterrussell/ Theresa's Tips - good shoes and socks and a running bra (& use an anti-chaff) https://fitmindfitbody.co/podcast/
An enigmatic sex symbol dating back to the 70s, Theresa Russell made a play for Hollywood stardom in the late 80s and early 90s, making a number of films about the sexual commodification and role playing. Ken Russell's Whore was marketed as a gritty answer to Pretty Woman, showing the “truth” about Los Angeles street prostitution. In Impulse, a neo-noir romance in which Russell plays an undercover cop posing as a sex working in a hopelessly corrupt LAPD, Russell was directed by Sondra Locke, longtime girlfriend and co-star of Clint Eastwood. When Eastwood dumped Locke while she was directing the movie, she fought back, instigating a series of lawsuits that revealed that Eastwood and his studio had conspired against her. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
Gaius and Jackson are looking back at 1998's Wild Things for its 25th Anniversary! Directed by John McNaughton, the film stars Matt Dillon, Kevin Bacon, Neve Campbell, Denise Richards, Theresa Russell, Robert Wagner, Daphne Rubin-Vega and Bill Murray. In the movie, a high-school guidance counselor in south Florida is accused of rape by two female students but there are a series of subsequent revelations that make things not appear as they seem. It was a first time watch for Jackson while Gaius saw the films in theaters when it was irst released so they share their experience with the film while examining its many twists, performances, reception at the time of its release and its relevancy today. Follow Us On Instagram Follow Us On Twitter Like Us On Facebook Follow Us On TikTok
Maddie Mackey and Theresa Russell explore topics including home organization, self care and creating a sacred space in your home where you feel relaxed and can fill your cup back up! As busy generators, Maddie and Theresa relate on the go-go-go lifestyle and love to have a clean organized home to come home to. Theresa's expert experience as a professional organizer and helping her client's live intentional lifestyles is done through her appts, her events and her IG content! Check her out, give her a follow, and if you need to get organized, REACH OUT TO HER TO BOOK A SESSION! Theresa can be found on IG here at @homegirl.space and her website homegirl.space Maddie Mackey @maddiemm mediaontherise.com --- Support this podcast: https://anchor.fm/maddiemackey/support
Writer, director and actor Bridey Elliott (Clara's Ghost) joins to discuss Nicolas Roeg's dark psychological drama BAD TIMING starring Theresa Russell, Art Garfunkel, and Harvey Keitel. The film uses a non-linear structure to portray a tumultuous love affair between a free spirited young woman and a psychiatrist living in Vienna. Receiving an extremely limited release in 1980, Roeg's lush and complex film didn't gain notoriety until repeat airings on the Z Channel cable station and, much later, a 2005 Criterion disc release. Listen in on Mama Needs a Movie's sensual obsession with this cult classic, along with sexy diversions into Mr. Toad's Wild Ride, The Exorcist, the 1994 Northridge earthquake, manic pixie dream girls, Serpico, Starbucks, Gene Hackman, Mighty Joe Young, and much, much more! BAD TIMING is available to stream with subscription on The Criterion Channel.
Hello Beautiful and Abundant Soul, I'm so excited to introduce you to a beautiful current client Theresa Russel that is a powerful Intentional Organizer in San Diego, CA. This episode is here to help you create a new way of intentiallly living within your home + on a financial level as well! Feel free to reach out to me and share your downloads! If you would like to dive deeper in your money journey, Join Unlock Your Money Frequency below -> We start 9/29/2022 - Last day to join 10/3 Unlock Your Money Frequency -> Click Here Connect with Theresa Russell Website: http://www.homegirl.space Organizing Guide: https://theresa-russell-s-school.teachable.com/p/how-to-bedroom-closet-organizing-guide $99 with 30 min virtual session Instagram: https://www.instagram.com/homegirl.space/ WORK WITH ME 1:1 VIP MENTORSHIP APPLICATION - Click Here 1:1 - 60 Min Channeled Money Blueprint Reading: Click here to book 1:1 70 minute - Channeled Spiritual Business Expansion Session: Click here to book Quantum Money Manifestation Masterclass: Click here to purchase $99 Website: www.melissabbates.com instagram: https://www.instagram.com/melissabbates_ The Sophia Code: Book Link You Tube: Click here
Fairly unknown, barely released, Eureka (1983) is a high concept epic adventure and descent into greed, madness, revenge and love starring Mickey Rourke in an early small role, alongside Gene Hackman, Rutger Hauer, Ed Lauter, Joe Pesci, Theresa Russell. A prospector finds gold changing his life, outlook and family stability; Directed by Nicolas Roeg.
Fairly unknown, barely released, Eureka (1983) is a high concept epic adventure and descent into greed, madness, revenge and love starring Mickey Rourke in an early small role, alongside Gene Hackman, Rutger Hauer, Ed Lauter, Joe Pesci, Theresa Russell. A prospector finds gold changing his life, outlook and family stability; Directed by Nicolas Roeg.
Episode 37: Special guest Rémy Bennett joins us to go one fucking hour on Nicolas Roeg's BAD TIMING: A SENSUAL OBSESSION – the psycho-sexual drama that follows the highly destructive relationship between a cold and manipulative American psychologist (Art Garfunkel) and the raw free spirited Milena played by Roeg's long-time collaborator and eventual wife Theresa Russell. THIS EPISODE CONTAINS A DISCUSSION AROUND A FILM WHICH DEPICTS GRAPHIC SCENES OF SEXUAL ASSAULT. VIEWER DISCRETION ADVISED. If you liked this episode, check out — One Fucking Hour on WALKABOUT https://youtu.be/tC_6TPVcA5I One Fucking Hour on STAR 80 https://youtu.be/OpR3yIz_FZU One Fucking Hour on ALL THAT JAZZ https://youtu.be/q_adGNyDwKI Follow us on – Instagram: https://www.instagram.com/onefuckinghour/ Twitter: https://twitter.com/1fuckinghour
Wellness in San Diego: Food, Movement, Spirituality + Wellbeing
We all want to be a little more organized, but have you ever thought about WHY you want to get organized and what being more organized might bring into your life? Today's guest, Theresa Russell of Homegirl, shares how she partners with clients to set an intention to transform not only their closets but their lives. Website: homegirl.space Instagram: homegirl.space Episode links: Vegan + Holistic Full Moon Events | SD Wellness Events Calendar Lavande Art Opening Event Soul of Yoga Ayurveda Summer Faire The Wellness in San Diego podcast is produced by Locally Well San Diego, your local wellness news source. Learn more: Website: locallywellsd.com Instagram: @locallywell
Welcome to the Instant Trivia podcast episode 301, where we ask the best trivia on the Internet. Round 1. Category: Recent Films 1: Mud Island, a Memphis tourist attraction, and its monorail are featured in this 1993 Tom Cruise film. "The Firm". 2: Miami dentist Cuba Gooding Jr. inherits a team of sled-pullers in this 2002 film. Snow Dogs. 3: This pop sensation starred in 2002's "Crossroads", about some friends who take a road trip. Britney Spears. 4: As in the TV series, this actor provided the voice of Charlie, the Angels' unseen boss, in "Charlie's Angels". John Forsythe. 5: Part of this unusual epic based on a Virginia Woolf novel was shot in Uzbekistan. Orlando. Round 2. Category: Shakespearean Name Roundup 1: This "King" of the Sitcom based Archie Bunker on his father and Maude on his wife. Norman Lear. 2: This chef was born one dreamy midsummer in Austria in 1949. Wolfgang Puck. 3: This modern dance pioneer lost her 2 children to a 1913 auto accident before dying in one herself. Isadora Duncan. 4: This prime minister left the Likud party in 2005 to form a new centrist party, Kadima. Ariel Sharon. 5: She went to medical school at Johns Hopkins before hosting a literary group and hanging out with Hemingway. Gertude Stein. Round 3. Category: "Black" Movies 1: George Segal played Sam Spade Jr. in this 1975 film satirizing "The Maltese Falcon". The Black Bird. 2: Leonard Maltin described the 1971 British film version of this Anna Sewell tale as "average horse opera". Black Beauty. 3: In this film Theresa Russell played a young woman who seduced, married and then murdered wealthy men. Black Widow. 4: This 1929 Hitchcock movie, his and England's 1st talkie, was shot originally as a silent. Blackmail. 5: This 1979 Disney sci-fi film starring Maximilian Schell was nominated for an Oscar for Visual Effects. The Black Hole. Round 4. Category: Who Might Have Said It? 1: A president in 1841: "Honey, did I talk too long when it was so cold? Ah-choo!". William Henry Harrison. 2: The leading man on "24": "I can't believe this cell phone works in this lead-lined bunker. Who's our carrier?". Jack Bauer. 3: From Homer's Iliad: "I know they all think I'm a hottie, but I can't believe they launched a thousand ships". Helen of Troy. 4: On "60 Minutes": "Have you ever wondered about Post-Its?". Andy Rooney. 5: From Shakespeare: "Enjoy the pies, Tamorra. I wish your sons were here. Oh, they are". Titus Andronicus. Round 5. Category: Manimals 1: In 1883 he opened his Wild West Show in Omaha, Nebraska. Buffalo Bill Cody. 2: In 1997 he broke Jack Nicklaus' 32-year-old Masters record of 17 under par. Tiger Woods. 3: In the victory column, this Alabamian has 4 more than Pop Warner. Bear Bryant. 4: On "Another Saturday Night" you'll find him "Sitting" on a "Peace Train" until "Morning Has Broken". Cat Stevens. 5: This "Good Morning, Vietnam" star once studied drama with John Houseman. Robin Williams. Thanks for listening! Come back tomorrow for more exciting trivia!
November is Gena's pick so she, Jenn and Joe are travelling back to 1987 for the female cat-and-mouse thriller Black Widow starring Debra Winger and Theresa Russell. The feminist AF film offers one hell of a meaty role for Russell, who completely steals the show. Up for discussion: the film's unconventional narrative structure, its lack of interest in male characters, showcasing the Hawaiian setting, comparisons to The Silence of the Lambs, and the film's tentative queerness. Also: this film is sexy! Consider this our plea for more sex in contemporary films! Wanna connect with the show? Gena: @genadoesthings Jenn: @jennferatu Joe: @bstolemyremote Music Credit: Sexy Time by Anthony Vega If you like the podcast, please rate, review, and subscribe! Discover more fabulously spooky Anatomy of a Scream Pod Squad shows at anatomyofascream.com and follow the network on Twitter and Instagram @aoas_xx!
Christopher Roberts was one of the producers of "The Believer", as well as on the film "Welcome To The Dollhouse" and the demo that got Andy Dick booked on The Ben Stiller Show. Roberts joins the podcast to fill in a few details left out of our interview with director Henry Bean and share stores with his old high school friend, Andras Jones. Directed by Henry Bean. Starring Ryan Gosling, Summer Phoenix, Theresa Russell, Billy Zane, Garret Dillahunt, Joel Marsh Garland, Glenn Fitzgerald, A.D. Miles, Elizabeth Reaser, Tovah Feldshuh, Judah Lazarus and, in a brief un-credited appearance, Natasha Leggero How is the world wrong about this movie? From Andras: As a comedy, this film isn't an easy one to laugh with but once you get its wavelength…once you know laughter is permissible…it only gets darker. Imagine Polanski doing an episode of “Curb Your Enthusiasm” with a young Ryan Gosling and then decide if it's something you want to see, or notsee. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag See omnystudio.com/listener for privacy information.
Henry Bean, the writer/director of “The Believer” which is based upon the true story of a New York Jew who became a Long Island Nazi and killed himself after being outed by the New York Times…is a comedy. Bean joins the podcast to unpack the film which launched Ryan Gosling's film career. Directed by Henry Bean. Starring Ryan Gosling, Summer Phoenix, Theresa Russell, Billy Zane, Garret Dillahunt, Joel Marsh Garland, Glenn Fitzgerald, A.D. Miles, Eilzabeth Reaser, Tovah Feldshuh, Judah Lazarus and, in a brief un-credited appearance, Natasha Leggero How is the world wrong about this movie? From Andras: As a comedy, this film isn't an easy one to laugh with but once you get its wavelength…once you know laughter is permissible…it only gets darker. Imagine Polanski doing an episode of “Curb Your Enthusiasm” with a young Ryan Gosling and then decide if it's something you want to see, or notsee. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Follow us on Twitter @worldiswrongpod Follow us on YouTube: https://www.youtube.com/channel/UCKE5tmbr-I_hLe_W9pUqXag The World Is Wrong theme written, produced and performed by Andras Jones Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.
Hosts Sonia Mansfield and Margo D. dork out about 1987's BLACK WIDOW, starring Debra Winger and Theresa Russell. Dork out everywhere … Email at dorkingoutshow@gmail.com Subscribe on Apple Podcasts Google Play Spotify Libsyn Tune In Stitcher http://dorkingoutshow.com/ https://twitter.com/dorkingoutshow
This week on WHM, the gang is hanging at HeadGum's Brooklyn studio with Vulture writer and good friend of the show, Angelica Jade Bastién, talking about the totally great Wild Things! How many VHS tapes of this film were completely worn down in the late '90s? Why did they bother with all the explainer scenes post-THE END? Was Bacon's third act hog reveal really an accident? And how great is Bill Murray in this movie? PLUS: Who else remembers one of the most infamous NYPD members of all time, the Cannibal Cop?!Wild Things Denise Richards, Kevin Bacon, Neve Campbell, Matt Dillon, Theresa Russell, Daphne Rubin-Vega, Robert Wagner, Jeff Perry, and Bill Murray; directed by John McNaughton.Catch WHM on tour this fall, hopefully!WHM Merch StoreAdvertise on We Hate Movies via Gumball.fm Privacy Policy and California Privacy Notice.
Welcome, CULT members. On this week's episode of the Criterion CULT Film Podcast host Jordan is asking the question “All the lonely people, where do they come from?” And Criterion may have the answer with 1985's Insignificance from director Nicolas Roeg and starring Theresa Russell, Gary Busey, and Tony Curtis. And to the chopping block Jordan brings Harmony Korine's 2007 film Mister Lonely starring Diego Luna, Samantha Morton, Denis Lavant, and Warner Herzog. Listen to this lonely episode of the Criterion CULT Film Podcast and find out if all the only people have a place in the CULT.
If you're anything like the Mutiny of Preverts crew, and you've spent decades watching and appreciating all the great cinema of the world, there is one question you find yourself returning to time and again: What exactly does it look like when Rip Torn has vigorous, athletic coitus with a coed? Well, lucky for you the films of Nicolas Roeg have the answer. And they also have the answer to similar copulatory questions about Donald Sutherland, Julie Christie, Theresa Russell, David Bowie, Candy Clark, James Fox, Mick Jagger, Rutger Hauer... We could go on. Despite the wealth of boning related topics, Azed, Jay and unofficial third host Omar Majeed also make time to discuss many of the formal and thematic elements of Roeg's films that make him one of the all time great directors. Azed, in particular, makes an astute connection between Roeg's fragmented visual and auditory style and the deeply alienated and traumatized characters that inhabit his films that you will not want to miss.
Jerry Jeff Walker [00:30] "(Looking for) The Heart of Saturday Night" It's a Good Night for Singin' MCA Records MCA-2202 1976 The gonzo country artist himself putting a fantastic spin on the Tom Waits classic (https://youtu.be/lbH6BUNsuts). La Luz [03:23] "Pink Slime" It's Alive Hardly Art HAR-076 2013 The women from Seattle and now LA come at us with this high energy surf track from their debut album. The D.O.C. [05:46] "It's Funky Enough" It's Funky Enough Ruthless Records/Atlantic 0-96549 1989 The debut solo single from The D.O.C. that made it to the top of the Rap chart in 1989 and number 12 on the Hot R&B/Hip-Hop chart. The People [10:16] "Don't You Know What It Is to Wait?" It's Happening Here...! Record Publication Company RPC Z-86251 1966 I think they may have gotten the punctuation wrong in that album title. Seems more like it should be It's Happening... Here?! Where is here? Camden, New Jersey of course. For more information that you may ever want to know of this album, check out this old WFMU Beware of the Blog post (https://youtu.be/lbH6BUNsuts). The Who [14:30] "Athena" It's Hard Warner Bros. Records 9 23731-1 1982 Replace Athena, and you get Theresa, as in Theresa Russell who evidently was not as into Pete as he was into her on one particular night. Horns by John Entwisle, of course. GrandMaster Flash & the Furious Five [18:18] "It's Nasty (Genius of Love)" It's Nasty (Genius of Love) Sugar Hill Records SH 569 1981 Je m'appelle Your Old Pal Will. Fun stuff grooving on the Tom Tom Club grooves. Made it to number 22 on the R&B charts in 1981. Merle Haggard and the Strangers [26:11] "New York City Blues" It's Not Love (but It's Not Bad) Capitol Records ST-11127 1972 Oh those rascally yankees. Oh wait, that's me. Anywho, Merle and the boys aren't too keen on New York City in this number from his 15th studio album. Tom Jones [29:41] "Whatcha' Gonna Do" It's Not Unusual Parrot PAS 71004 1965 Tom Jones bringing some blue-eyed sould belting to this number originally written by the King of the Stroll Chuck Willis. Mantovani and his Orchestra [32:51] "Theme from Capriccio Italien, Op. 45" Italia Mia London Records PS 232 1961 Evidently one of Mantovani's memories of Italy is of... Tchaikovsky. The Italian Street Singers and orchestra [35:40] "Volare" Italian Sing-Along Decca Records DL 4027 1960 Well, did you sing along? Ton Koopman [29:41] "Bach: Toccata und Fuge D-Moll BWV 565" J.S. Bach - Orgelwerke Archiv Produktion 410 999-1 1984 I got this album when I was in high school, and it has always served me well when I'm in my more gothic moods. I definitely like this recording way more than the kooky Virgil Fox version that we heard a few episodes ago. Shriekback [48:19] "Hand on My Heart" Jam Science Arista 206 416 1984 The second album from the group created by Barry Andrews, formerly of XTC, and Dave Allen, formerly of Gang of Four. Some free funk dancefloor action for you. Lord Montego and his Calypsonians [52:11] "Rum and Coca Cola" Jamaica Calypso Audio Fidelity AFLP 1832 1957 A pretty fun take on the Lionel Belasco/Lord Invader classic. The Dave Brubeck Quartet [54:32] "Le Souk" Jazz Goes to College Columbia CS 8631 1954 Some energetic Middle-Eastern riffing from Dave and the boys recorded live at Oberlin. Lambert, Hendricks & Ross [59:08] "Cloudburst" Jazz Poll Winners Columbia CS 8410 1960 You may recall in the last episode of Vinyl-O-Matic (https://vinylomatic.com/s05e47), we heard a track from Daedelus that featured some vocal stylings by Busdriver. Turns out, Busdriver is a fan of Jon Hendricks vocalese stylings. Music behind the DJ: "5-4=Unity" by Pavement
HOWARD NASH (Producer/Actor/Writer) Howard Nash has actively been producing movies since 1991. In 1993, he co-produced the hit “Children of the Night”, a vampire-thriller released by Columbia Tri-Star Pictures, which aired on HBO, Showtime, Starz and Fear Net, and currently remains a regular staple on the Sy Fy Cable Channel. His television credits include “Feliciano, The Legend” for PBS, a one-hour music special that aired in all 50 states. He also co-produced “The Deep North” for CBS, a one-hour documentary special which earned him an Emmy-Award Nomination (the film dealt with the current state of race relations in NYC). The next ten years included more than a dozen widely distributed films, all of which were released domestically, as well as in 25+ countries around the world. In 2008, he produced and appeared in “Heaven's Messenger, a faith-based film starring John Heard, Hallie Eisenberg and Vincent Pastore (it can be currently streamed on the Parables and Uplift TV platforms). And in 2013, he produced “The Legends of Nethiah”, also starring John Heard, with Robert Picardo and Theresa Russell. It deals with the “fantasy world” of a young boy whose parents are divorcing. It was released in more than 20 countries, including the U.S. In 2016, Howard produced “Occupants”, a paranormal thriller, which was released by Sony Pictures Entertainment, and which has to date secured more than 44 International film festival awards. Following “Occupants”, he co-produced the boxing film “Tiger”, starring Mickey Rourke, which opened in theaters throughout the U.S. in November 2018. That same month, his television special, John Leguizamo's “Road to Broadway”, was broadcast nationally as part of Public Broadcasting's “Great Performances” series. His most recent film, “American Wisper”, has won 9 international film festival awards, and is currently streaming in the U.S., and around the world. He is presently shooting a one-hour pilot for The Learning Channel in New York City. Support the show: https://theanswersandiego.com/radioshow/8349 See omnystudio.com/listener for privacy information.
On today's show The Vern brings on the beautiful but mysterious woman, Jeanette Miller Mickenham to talk about two movies whose main villain kills men out of love. We have Black Widow starring Debra Winger and Theresa Russell and Sea of Love starring Al Pacino and Ellen Barkin. Ad Spots by Nostaljunk Podcast Film for Thoughts --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/cinemarecall/support
Dustin Hoffman, at the height of his movie star powers, gives his most intense performance in this nihilistic crime drama based on an Eddie Bunker novel. Straight Time (1978) Directed by Ulu Grossbard. Starring Dustin Hoffman, Harry Dean Stanton, Gary Busey, Theresa Russel, M. Emmett Walsh & Eddie Bunker (the author of "No Beast So Fierce" How is the world wrong about this film? People don’t talk enough about how great an actor Dustin Hoffman is, nor about what a large shadow his stardom cast over the years in film between The Graduate in 1967 and Rain Man in 1988. Hoffman was supposed to direct “Straight Time” before handing that role to Ulu Grossbard but his producorial hand can still be felt all over this understated character driven crime drama that clearly influenced much better known films like Michael Mann’s “Thief” and Tarantino’s “Reservoir Dogs”. Find all of our episodes at www.theworldiswrongpodcast.com Follow us on Instagram @theworldiswrongpodcast Check out: The Director's Wall with Bryan Connolly & AJ Gonzalez & The Radio8Ball Show hosted by Andras Jones See omnystudio.com/listener for privacy information.
Some films are perhaps too experimental (or just too ahead of their time) to be understood, ... even by their makers. After winning the Cannes Film Festival's Palm d'or for his 1989 breakout hit SEX, LIES AND VIDEOTAPE, Steven Soderbergh was dubbed the "poster boy of the Sundance generation". Eagerly courted by studios large and small, filmdom eagerly anticipated the wunderkind's next cinematic endeavor. Then when KAFKA hit theaters in November of 1991 there was a loud world-wide collective “What the f**k!” accompanied by a lot of head scratching. Close thematic, visual and tonal kin to Terry Gilliam's earlier BRAZIL, David Cronenberg's later NAKED LUNCH and Alex Proyas' DARK CITY, director Soderbergh and screenwriter Lem Dobbs fashioned KAFKA as their own version of Cronenberg's "Brundle-Fly" - wherein the genomes of different beings were fused together to create an all new one. In this case feeling it impossible to faithfully adapt a Kafka story to the screen “in toto”, they took literary DNA from various works by the author, combined them with references to Kafka's actual life, then stirred them together into a brand new narrative in which the budding author in 1919 Prauge takes place in a freakishly macabre mystery - elements of which would later find their way into some of his most famous stories.A box office failure, and unavailable on home video for almost 20 years, the film has developed a fervent cult following, ... with us among the loudest members of this "misunderstood masterpiece's" cheerleading squad. Soderbergh himself has since even re-evaluated his own film, and has plans to do a new "Midnight Cut" which would make it even more "Rorshach"-like. If unfamiliar with this gem, join us for a 20 minute "mini pod" rundown of what still remains our all time favorite Soderbergh flick, and one of the most intriguing films of the entire decade of the 90s.______________________________________________________________________________THE MOVIE SNEAK PODCAST is part of The GullCottage/Sandlot - a film blog, cinema magazine, growing reference library and online network "Celebrating The Art of Cinema, ... And Cinema As Art".Explore the GULLCOTTAGE / SANDLOT @ www.gullcottageonline.comRights to film / TV clips and other audio excerpts held by copyright owners. Presented here for educational and criticism purposes.
We have royalty on this week's episode. We are graced by the presence of Kiwi Smith, writer of 10 Things I Hate About You, Legally Blonde, She's the Man, The House Bunny, and so many more. She's on the show to talk about a VERY different film from her own work - Bob Rafelson's 1987 neo-noir, Black Widow. Kiwi gushes over the obsessive relationship between Debra Winger and Theresa Russell's characters. She discusses having to change the ending of Legally Blonde several times. And she talks about how she physically mailed pages to her writing partner during the writing of 10 Things I Hate About You. Watch Kiwi's show, Trinkets, streaming on Netflix now. And if you haven't seen Black Widow, you simply must! With April Wolfe and Kiwi Smith. You can let us know what you think of Switchblade Sisters on Twitter or Facebook. Or email us at switchbladesisters@maximumfun.org. Produced by Casey O'Brien and Laura Swisher for MaximumFun.org.
Take Dustin Hoffman in his 1970's prime, mix him with some nitro glycerin (stir gently) and you've got Max Dembo, in the classic crime drama Straight Time. Brilliantly directed by Ulu Grosbard, this movie set the gold standard for all heist movies to follow. In it Hoffman delivers his most explosive performance ever as an ex-con trying to go straight. It also stars the great Harry Dean Stanton at his naturalistic best. And if that's not enough it includes, a very young Gary Busey, a very young Theresa Russell and a very young Cathy Bates. What else do you need? Grab your stop watch, shotgun, heavy gloves, hammer & goggles and get ready to grab some cash & jewelry! It's there for the taking.
No STATE OF GRACE still, so Trevor finds another Oldman flick to watch-- TRACK 29, and boy, is it a doozy! Nicolas Roeg's (RIP) underseen 1988 film, also starring Christopher Lloyd and Theresa Russell.
Based on W. Somerset Maugham's novel of the same name, this movie follows Larry (Bill Murray) as his searches for the meaning of life, following the WWI death of a friend, in The Razor's Edge (1984). A remake of 1946 classic The Razor's Edge (1946), with Catherine Hicks, Theresa Russell, and Denholm Elliott. SPREAD THE WORD! If you enjoyed this episode head on over to iTunes and kindly leave us a rating, a review, and subscribe! We would love to get your feedback! Email Click here to subscribe via iTunes Read more at classicmovierev.com
Whore (1991) arguably Ken Russell's most controversial and, perhaps, little-seen magnum opus, deals with Liz - a prostitute working the day-to-day grind. In this satire, the Russell' (both Ken, the director, and Theresa Russell, who plays Liz) delve into the world of hooking, offering a unique take and send-up on the hook-with-the-heart-of-gold myth propagated by Pretty Woman (1990).
It's back to the 80s this week with a review of 1987's Black Widow directed by Bob Rafelson and starring Debra Winger and Theresa Russell. Scott remembers liking it a lot back then, but was that just his Winger crush making his see through rose tinted glasses? Tune in to find out. We also discuss some recent watches including the Lego Batman Movie and Legend of Tarzan. marriedwithclickers@gmail.com
Special Guests: Nicolas Roeg, Yale Udoff,Anthony LawsonGuest Co-Hosts: Elric Kane, Adam LongNicolas Roeg's Bad Timing tells the story of two people, Alex Linden (Art Garfunkel) and Milena Flaherty (Theresa Russell), who get together when maybe they shouldn't have.Guests include director Nic Roeg, screenwriter Yale Udoff, and editor Tony Lawson.Elric Kane of Killer POV and Adam Long of Movie Geeks United join Mike to discuss this sensual obsession.
País Estados Unidos Director Sam Raimi Guión Alvin Sargent (Historia: Sam Raimi, Ivan Raimi. Cómic: Stan Lee, Steve Ditko) Música Christopher Young Fotografía Bill Pope Reparto Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, James Cromwell, Bryce Dallas Howard, Rosemary Harris, J.K. Simmons, Theresa Russell, Cliff Robertson, Bruce Campbell, Dylan Baker, Bill Nunn, Lucy Gordon, Elizabeth Banks, Stan Lee Sinopsis Tercera entrega de las aventuras del joven Peter Parker (Maguire). Parece que Parker ha conseguido por fin el equilibrio entre su devoción por Mary Jane y sus deberes como superhéroe. Pero, de repente, su traje se vuelve negro y adquiere nuevos poderes; también él se transforma, mostrando el lado más oscuro y vengativo de su personalidad. Bajo la influencia del nuevo traje, Peter se convierte en un ser egoísta que sólo se preocupa por sí mismo. Tiene, pues, que afrontar un dilema: disfrutar de sus nuevos poderes o seguir siendo un héroe compasivo. Mientras tanto, sobre él se cierne la amenaza de dos temibles enemigos: Venom y el Hombre de Arena.
Theresa Russell just returned from a seven-night Alaska cruise on Holland America Line's ms Amsterdam where she got to experience the beauty of Alaska. Hear a comprehensive review of this ship from a travel expert. Thoughts or reviews? Email me: doug@cruiseradio.net Find in-depth cruise news and ship reviews at https://cruiseradio.net
On this episode, we get a comprehensive review of Norwegian Cruise Line's Pride of America from Theresa Russell. She shares her Hawaii cruise experience, what is was like sailing on a U.S. flagged ship, and what the Hawaiian Islands were like. Cruise News Norwegian revamps their dining package Cruises to nowhere ending Recapping Carnival's no bottle policy HAL Noordam rescues sightseeeing boat Listener question: A Villa on Carnival's private island Half Moon Cay for 8 people is $499.99. The villa itself holds 18 people. Every person over 8 is required to pay $49.99 per person. We have 11 people in our party total - I am confused why we have to pay extra if the villa itself is designed for 18 people in the first place. Any ideas? Thoughts or reviews? Email me: doug@cruiseradio.net Find in-depth cruise news and ship reviews at https://cruiseradio.net
Título original Spider-Man 3 Año 2007 Duración 140 min. País Estados Unidos Estados Unidos Director Sam Raimi Guión Alvin Sargent (Historia: Sam Raimi, Ivan Raimi. Cómic: Stan Lee, Steve Ditko) Música Christopher Young Fotografía Bill Pope Reparto Tobey Maguire, Kirsten Dunst, James Franco, Thomas Haden Church, Topher Grace, James Cromwell, Bryce Dallas Howard, Rosemary Harris, J.K. Simmons, Theresa Russell, Cliff Robertson, Bruce Campbell, Dylan Baker, Bill Nunn, Lucy Gordon, Elizabeth Banks, Stan Lee Productora Sony Pictures Género Fantástico. Acción | Superhéroes. Cómic. Marvel Comics. Secuela Web oficial http://www.sonypicturesreleasing.es/movies/spiderman3/site/index_spa.php?lang=spa Sinopsis Tercera entrega de las aventuras del joven Peter Parker (Maguire). Parece que Parker ha conseguido por fin el equilibrio entre su devoción por Mary Jane y sus deberes como superhéroe. Pero, de repente, su traje se vuelve negro y adquiere nuevos poderes; también él se transforma, mostrando el lado más oscuro y vengativo de su personalidad. Bajo la influencia del nuevo traje, Peter se convierte en un ser egoísta que sólo se preocupa por sí mismo. Tiene, pues, que afrontar un dilema: disfrutar de sus nuevos poderes o seguir siendo un héroe compasivo. Mientras tanto, sobre él se cierne la amenaza de dos temibles enemigos: Venom y el Hombre de Arena.
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