Podcast appearances and mentions of Tony Maylam

Tony Maylam's 1981 summer camp slasher, THE BURNING, is our feature presentation this week. We discuss if this movie ripped off Friday the 13th, the oversaturated "Slasher" boom, the film debuts of Jason Alexander & Holly Hunter, the infamous "Raft Massacre" scene, the birth of Harvey Weinstein's predatory behavior, and much more! We also pick our TOP 7 HARVEY WEINSTEIN PRODUCED FILMS in this week's SILVER SCREEN 7. Check out the show, subscribe and become a regular here at THE BROKEN VCR! To watch the LIVE VIDEO RECORDING of BVCR, sign up to the PATREON ($2.99/month) at theturnbuckletavern.com. You'll get the episodes in video form days/weeks early.

"A legend of terror isn't a campfire story anymore!" For this week's episode, we kick off our 4th "Summer at the Summer Series" where all the movies we discuss take place during the summer. We start things off with the cult slasher movie 'The Burning' starring Brian Matthews, Leah Ayers and Brian Backer. It also stars Jason Alexander, Holly Hunter and Fisher Stevens. Directed by Tony Maylam. The Burning - IMDB: https://www.imdb.com/title/tt0082118/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_the%2520burning The Burning - Rotten Tomatoes: https://www.rottentomatoes.com/m/1184756-burning Cropsy Documentary: https://www.imdb.com/title/tt1277936/?ref_=tt_rvi_tt_i_3 Bill's Letterboxd Ratings: https://letterboxd.com/bill_b/list/bills-all-80s-movies-podcast-ratings/ Jason's Letterboxd Ratings: https://letterboxd.com/jasonmasek/list/jasons-all-80s-movies-podcast-ratings/ Website: http://www.all80smoviespodcast.com X (Twitter): https://twitter.com/podcastAll80s Facebook (META): https://www.facebook.com/profile.php?id=100030791216864 TikTok: https://www.tiktok.com/@all80smoviespodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

L'irriducibile Detective Stone è alle prese con un sanguinario e forse ultraterreno serial killer che strappa il cuore alle sue vittime e sembra cibarsene. Pellicola cazzara e adrenalinica, ma di grande atmosfera, con una Londra allagata, invasa dai ratti e sempre notturna. Rutger Hauer ha la faccia giustissima per impersonare questo antieroe futuristico e Kim Cattrall sempre graziosa, prima di ricorrere a troppo botulino. Il film è figlio dei suoi tempi, ma è comunque un godibilissimo prodotto di serie B, che tanti nostalgici come il sottoscritto sicuramente hanno visto ed apprezzato sia ai tempi che adesso.

We hope you're feeling Nasty today cause thats exactly what we're covering.  A slasher gore piece from 1981 that was on the UK's Video Nasty list.  Of all the films is the 80s that tried to copy the Friday the 13th formula with a brutal killer in the woods this movie is one of the noteworthy ones.  It has an impressive synth score from Richard Wakeman of Yes.  Tom Savini does the horror effects and this was Bob and Harvey Weinstein's first film for their label Miramax.  The now disgraced movie producers who were just a few years ago titans of the industry began their journey here.  Enjoy our Horror 101 treatment of Tony Maylam's The Burning.Show Highlights:01:00  Prelude to Terror...07:00 Introducing The Burning...13:45  The Prank Gone Wrong...18:30  Rick Wakeman Score...21:00  Unfortunate Hooker...23:00 Five Years Later...27:15  Campfire Tales...30:00  Skinny Dip Death...35:45  Raft Massacre...38:00  Two Pump Dump...41:20  The Abandoned Mine...48:00  Scoring the Film...56:00  Conclusion and Thanks for Listening!

Julius en Jasper bespreken twee zomerkamp-slashers uit de jaren 80: The Burning (1981) van Tony Maylam en Sleepaway Camp (1983) van Robert Hiltzik. Als er eentje zou moeten verdwijnen, welke mag dan blijven?

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

Join Luke and Marcus as they talk about another movie as old as they are in The Burning. Follow us on Twitter and Instagram - @Reviewedtodeath Breaking news music by Sound Effects Factory - https://www.youtube.com/@SoundEffectsFactory All additional music by Groove Witness - www.groovewitness.us Intro excerpt from The Burning written by Tony Maylam and others Hell Comes to Frogtown Trailer property of New World Pictures Sound effects provided by www.zapsplat.com Read our companion written reviews - imgur.com/user/trojaSpaceBandit Sources: https://collider.com/the-burning-cropsey-urban-legend/ https://the-line-up.com/cropsey-monster-of-staten-island --- Send in a voice message: https://podcasters.spotify.com/pod/show/reviewedtodeath/message

When a prank goes wrong at a campsite you get someone who wants revenge after being burned alive. We don't get a hockey mask in this one but something familiar. Check out our review on this 80's camp horror film, showing some actors for the first time on the big screen. Starring Brian Matthews, Leah Ayres, Brian Backer, Larry Joshua, Jason Alexander, Neg Eisenberg, and Carrick Glenn. Directed by Tony Maylam in 1981. If you would like to become a supporter of the show you can check out our Patreon account and choose a tier. There are different perks at all levels and every contributor will have access to our Pre-Horror Show. Check out our favorite coffee by clicking on our link: Four Sigmatic Please share the podcast with your friends on social media to help us grow. Leave us a great review on whatever platform you are listening. Check us out on Facebook, Instagram, Twitter, and Slasher. If you would like to watch our interviews, you can check out our YouTube channel. If you would like to ask us a question or make a suggestion for the show, send us an email at horrorscriptpodcast@gmail.com You can write us or record a voice memo of yourself asking the question and we can play it on an upcoming episodeSupport the show by picking up some Horror Script Podcast merchandiseIf you do reviews and interviews virtually try Squadcast for free by using our link. You also help support the show by using it. Special thanks to John Saccardo and Vince Lipscomb for the amazing music. Support the show

Horror movie spooky scary month continues with another heavy hitter in Friday the 13th and a lesser known slasher great The Burning. The Burning(1981) Directed by Tony Maylam. Starring Brian Matthews, Leah Ayers, Brian Backer and Jason Alexander. Trailer: https://www.youtube.com/watch?v=KTvr0SJQ_WM Friday the 13th(1980) Directed by Sean S Cunningham. Starring Betsy Palmer, Adrienne King and Kevin Bacon. Trailer: https://www.youtube.com/watch?v=aDrOvFtzyPQ Twitter: @DoubledFeature Instagram: DoubledFeature Email: DoubledFeaturePodcast@Gmail.com Dan's Twitter: @DannyJenkem Dan's Letterboxd: @DannyJenkem Max's Twitter: @Mac_Dead Max's Letterboxd: @Mac_Dead Executive Producer: Koolaid --- Send in a voice message: https://anchor.fm/doubledfeature/message

HORROR WITH SIR. STURDY EPISODE 319 THE BURNING MOVIE REVIEW   ARE YOU READY TO GET SLICIN & DICIN WITH SIR. STURDY HORROR FANS?   IF YOU DON'T KNOW BY NOW I AM YOUR HOST SIR. STURDY.   TUNE IN THURSDAY NIGHT AT 8PM EST FOR THE REVIEW OF THE BURNING (1981).    DIRECTED BY: TOM MAYLAM   WRITTEN BY: HARVEY WEINSTEIN, TONY MAYLAM, BRAD GREY STARING: BRIAN MATTHEWS, LEAH AYERS, BRIAN BACKER   IMDB: https://www.imdb.com/title/tt0082118/ LET US KNOW YOUR THOUGHTS AND RATINGS OF THIS MOVIE IN THE COMMENTS. DON'T BE SCARED TO LIKE SHARE & SUBSCRIBE WELCOME TO THE MADNESS!!!!!!! FACEBOOK USERS WANT YOUR NAME AND PIC TO SHOW UP NEXT TO YOUR COMMENTS? CLICK THE LINK BELOW!! https://chat.restream.io/fb   SIR. STURDY'S #WATCHWITHSTURDY https://streamlounge.io/u/sir_sturdy   SIR. STURDY'S WEBSITE https://www.horrorwithsirsturdy.com/   THE Z NETWORK LINKTREE https://linktr.ee/THEZNETWORK THANK YOU ALL JOINING THE MADNESS.  PLEASE DON'T BE AFRAID TO LIKE SHARE & SUBSCRIBE. TELL YOUR FAMILY, FRIENDS, ENEMIES, CO-WORKERS, BOSSES, NEIGHBORS, STRANGERS, TELL EVERYBODY ABOUT HORROR WITH SIR. STURDY..   IF YOU EVER WANT TO COME ON HERE AND TALK SOME HORROR EMAIL ME AT  HORRORWITHSIR.STURDYGUESTS@GMAIL.COM    I'LL SEE YOU IN YOUR NIGHTMARES!!!!   #sirsturdy #horrorwithsirsturdy #horrorpodcast #518podcast #sturdymerch #livewithsturdy #podcast #supportindiepodcasts #horror #moviereview #spookyseason #livestreaming #livereview #liveshow #tuesday #thursday #8pmest #horrormoviereview #THEBURNING #latenightfright #theznetwork  #illseeyouinyournightmares #RIPDMX #RIPKODA #99

The 80s SUMMER SLASHER SERIES EXTRAVAGANZA BONANZA CONTINUES! After leaving Camp Crystal Lake, your whorror-hosts have pitched a tent at Camp Stonewater to delve into Tony Maylam's 80's classic "The Burning," a film loosely based on the urban legend of the Cropsey killer.  This movie may have been partly written by Harvey Weinstein and is chock-full of 80s sexism BUT we still stan a well-acted, scary, entertaining slasher!  Join Jenny and Kaitlin as they continue their Tom Savini adoration, ponder who the adults are here, and rate the campers' raft-building skills (STRONG!).  Bring the snacks and we'll see you round the campfire! -------------------- Music by The Brothers Keg (APF Records, with permission) Artwork by Ghoul Realm Art Editing by Jenny Steggles ------------------------

Don't look, he'll see you. Don't breathe, he'll hear you. Don't move, you're dead!The Burning is a 1981 American slasher film directed by Tony Maylam, and starring Brian Matthews, Leah Ayres, Brian Backer, Larry Joshua, and Lou David.A former summer camp caretaker, horribly burned from a prank gone wrong, lurks around an upstate New York summer camp bent on killing the teenagers responsible for his disfigurement.00:00 Intro12:15 Horror News27:44 What We've Been Watching49:33 Film Review2:01:29 Name Game2:06:36 Film Rating2:14:49 OutroPodcast - https://podlink.to/horrorhangout​​​Patreon - https://www.patreon.com/horrorhangoutFacebook - https://www.facebook.com/hawkandcleaverTwitter - https://twitter.com/horror_hangout_Website - http://www.hawkandcleaver.com​​​Luke - https://twitter.com/lukeofkondorBen - https://twitter.com/ben_errington​​​Andy - https://twitter.com/AndyCTWritesSpecial guests - Liam Banks & Liam James of the They're Queer Podcast@theyrequeerpodcast (Instagram) + @theyrequeer (Twitter)Liam B - @liambcreative on all platformsLiam J - @Liam_James_ (Twitter) + @_.liamjames (Instagram)http://www.facebook.com/superfreakmediahttp://www.twitter.com/superfreakmediahttp://www.superfreakmedia.comAudio credit - Taj Eastonhttp://tajeaston.comSupport this show http://supporter.acast.com/thehorrorhangout. See acast.com/privacy for privacy and opt-out information.

Join hosts, Aleece and Tony as things HEAT UP in the slasher classic, The Burning, from 1981, directed by Tony Maylam. This will be a GUT REACTION episode, where we watch exactly 1/2 of a film WE HAVE NEVER SEEN...pause...then make predictions about the 2nd half SPILLING OUR GUTS along the way! See if our knowledge of 80s Slashers will MAKE THE CHOP!...Or will our guesses be so off that we CROP and BURN!!

The gang watch the slasher horror The Burning directed by Tony Maylam and discuss their own encounters with murderous individuals 

Nolan is joined by Paul Farrell, Thomas Foster, and Philip Yount — as well as special guest Scott Drebit from Daily Dead — to discuss Steve Miner's FRIDAY THE 13TH PART 2 (1981) and Tony Maylam's THE BURNING (1981). The crew catch up on the FEAR STREET trilogy before being stalked and slashed by campfire tales-come-to-life from a previous generation. Other movies discussed on this episode: FEAR STREET: PART ONE - 1994 (2021) (Netflix), FEAR STREET: PART TWO - 1978 (2021) (Netflix), FEAR STREET: PART THREE - 1666 (2021) (Netflix). Links of interest and/or sources cited for research on this episode:

John and Jim chat about The Burning directed by Tony Maylam. This was a new one for each host, but this slasher does not disappoint. Some good ol gore, summer camp hijinks, and a pissed off serial killer awaits. You know the deal, crack a cold one and enjoy.

O nosso podcast sobre cinema de gênero retorna com mais um estudo, o nosso segundo, sobre o slasher no cinema americano. Se no 'vol 1', Guilherme Martins e Filipe Furtado abordaram duas sequências de filmes embrionários desse gênero fascinante, desta vez escolhemos focar a pauta em filmes que pertencem a era mais prolífica do slasher, o começo dos anos 80. Os filmes são CHAMAS DA MORTE (1981), ou The Burning como preferimos, um belo filme de Tony Maylam, cheio de bastidores curiosos, e o THE PROWLER (1981), realizado pelo Joseph Zito, outro interessante mergulho no submundo do slasher e no impacto do pós-guerra.Entre os dois filmes, um grande artista, o Tom Savini, o mestre dos efeitos especiais de maquiagem. Procuramos contextualizar e contar um pouco mais sobre quem era este brilhante personagem, uma celebridade no mundo do gênero. Participam abrilhantando nosso programa João Pedro Faro e o grande estreante Marcelo Miranda.Eis o nosso índice:1' – Apresentação, O Nó do Diabo na Amazon, Oxigênio na Netflix16'40 – Tom Savini, autor50'13 – The Burning, participação de Marcelo Miranda89'28 – The Prowler, participação de João Pedro Faro144'44 – Elegemos o nosso Top 5 Savini, próximo episódio, agradecimentos

In this week's show, Jeff Shuster (our glorious Curator of Schlock) kick off summer by discussing two vintage summer camp films released in a two year span, Ivan Reitman's Meatballs (1979) and Tony Maylam's The Burning (1981).

A review for MVD Rewind's release of Split Second. Split Second is 1992 horror action thriller starring: Rutger Haurer, Alastair Duncan, Kim Cattrall, Alun Armstrong, Pete Postlethwaite and more. Director of Photography Clive Tickner. Creature Effects by Stephen Norrington. Written by Gary Scott Thompson. Directed by Tony Maylam.

On this weeks episode, host Oh Golly Miss Dolly chats with special guest Zobo With A Shotgun, Zoe Smith about special FX master, actor, stuntman and director Tom Savini. Together they discuss in spoiler rich detail two films that he has worked his magic on: 1980's slasher classic 'Friday the 13th' directed by Sean S. Cunningham and 1981's not-such-a-classic slasher 'The Burning' directed by Tony Maylam.

Ah, la joie des colos de vacances d’antan, où ados et monos se faisaient allègrement débiter en tranches par un psychopathe masqué.  Ou bien la nostalgie des années fac, où d’accortes étudiantes se faisaient larder de coups de couteau par des binoclards revanchards.  Vous l’avez compris, l’équipe du PIFFFcast se penche avec allégresse sur le genre séminal du slasher en exhumant quelques incontournables ou classiques oubliés d’un genre trop souvent rabroué. Avec Véronique Davidson, Cyril Despontin, Xavier Colon, Laurent Duroche et Talal Selhami. Réalisation : Xavier Colon Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo ► En écoute aussi sur Itunes : apple.co/2Enma9n ► Sur Deezer : www.deezer.com/fr/show/56007 ► Sur Spotify : open.spotify.com/show/4n3gUOfPZhyxL5iKdZIjHA ► Sur Youtube : https://youtu.be/NTOmF2kw9J4 ► La liste des films abordés dans les précédentes émissions : bit.ly/PIFFFcast-List ► Venir discuter avec nous du PIFFFcast : bit.ly/ForumPIFFFcast Dossier Slasher : - Treize femmes de George Archainbaud (1932) - 10 petits indiens de George Pollock (1965) - Le voyeur de Michael Powell (1960) - Psychose d'Alfred Hitchcock (1960) - Blood Feast de Herschell Gordon Lewis (1963) - La Baie Sanglante de Mario Bava (1971) https://soundcloud.com/pifffcast/pifffcast-62-bava-roi - Torso de Sergio Martino (1973) - Black Christmas de Bob Clark (1974) https://soundcloud.com/pifffcast/pifffcast-76-merry-pifffmas - Massacre à la tronçonneuse de Tobe Hooper (1974) - Halloween de John Carpenter (1978) - Vendredi 13 de Sean S. Cunningham (1980) - La saga Freddy https://soundcloud.com/pifffcast/pifffcast-67-saga-freddy-les-griffes-de-la-nuit - Hysterical de Chris Bearde (1983) - Terreur sur la ligne de Fred Walton (1979) - Cheerleader Camp / Poupées de chair de John Quinn (1988) - Alice Sweet Alice / Communion Sanglante de Alfred Sole (1976) - Tanya's Island de Alfred Sole (1980) - Ne vous retournez pas de Nicholas Roeg (1973) https://soundcloud.com/pifffcast/pifffcast-45-anarchy-in-the-uk - Last House on dead end street de Roger Watkins (1973) - Terror Train / Le Monstre du train de Roger Spottiswoode (1980) - Prom night / Le Bal de l'horreur de Paul Lynch (1980) - Fog de John Carpenter (1980) - Déviation Mortelle de Richard Franklin (1981) https://soundcloud.com/pifffcast/pifffcast-55-les-magiciens-doz - Action Jackson de Craig R. Baxley (1988) - Le jour des fous (1985) https://soundcloud.com/pifffcast/pifffcast-68-school-on-fire - My Bloody Valentine / Meurtres à la St Valentin de George Mihalka (1981) - Meurtres à la St Valentin de Patrick Lussier (2009) - Sleepaway camp / Massacre au camp d'été de Robert Hiltzik (1983) - Happy Birthday to me / Happy Birthday : Souhaitez ne jamais être invité de J. Lee Thompson (1981) - Bloody Bird de Michele Soavi (1987) https://soundcloud.com/pifffcast/pifffcast-62-bava-roi - April Fool's day / Week-end de terreur de Fred Walton (1986) - Vendredi 13: Jason le mort-vivant de Tom McLoughlin (1986) - Dr Giggle / Dr Rictus de Manny Coto (1992) - Sonny Boy de Robert Martin Carroll (1989) - Scream de Wes Craven (1996) - Souviens-toi l'été dernier de Jim Gillespie (1997) - Maniac Cop 2 de William Lustig (1990) - Candyman de Bernard Rose (1992) - Hellbent de Paul Etheredge (2004) - Carnage de Tony Maylam (1981) - Cry Wolf de Jeff Wadlow (2005) - Cold Prey de Roar Uthaug (2006) - Ogroff de Norbert Moutier (1983) - Promenons-nous dans les bois de Lionel Delplanque (2000) - Haute Tension de Alexandre Aja (2003) Les recos en vrac : - Etoile de Peter Del Monte (1989) - Zack Snyder's Justice League de Zack Snyder (2021) - Boss Level de Joe Carnahan (2021) - Silent Running de Douglas Trumbull (1972) - She-Ra les princesses du pouvoir (série TV)

Well then. Mitch has only gone and got himself placed in isolation! As such, this week's minisode has the air of a man desperate to cling onto his connection to others. It's MINISODE 121! Topics this week include Josh Ruben's Shudder Exclusive SCARE ME, Lorcan Finnegan's VIVARIUM, Mitch checks out Tony Maylam's wonderful THE BURNING and as the 90's side-quest nears its end, Mitch checks out WHEN A STRANGER CALLS BACK! Also, there's another instalment of MITCH'S PITCHES!  Due to his well documented ignorance towards films, Mitch is shown a film poster with all titles, taglines etc removed and tasked with attempting to decipher the plot. Will it go well? The poster image can be seen below... We also announce the film and guest for this week's main episode.  In addition to all this, we dig into your posts and messages in the Feedback section and tell you what you should be watching as we look at what's arriving on streaming platforms this week!   Please note that this podcast may contain strong language and even stronger Scottish accents.    Also, why not pop over and take a look at our Patreon page? Remember, you can keep up to date with our news by following us via the usual social media outlets:  Facebook (including our group THE CHUD LOCKER!) Twitter Instagram Plus you can drop us an email to stronglanguageviolentscenes@gmail.com OR check out our WEBSITE!  Strong Language & Violent Scenes theme by Mitch Bain & The Sunshine Orchestra

This week on the Video Junkyard Podcast, Erik, Ryan, and Joe check out the 1992 film "Split Second", directed by Tony Maylam and staring Rutger Hauer, Kim Cattrall, Alastair Duncan, and Michael J. Pollard. Split Second takes us to a flooded future London where unhinged Detective Harley Stone (Hauer) hunts a serial killer who murdered his partner, and has haunted him ever since. He soon discovers what he is hunting might not be human... Its dark, it's damp, its an odd mashup of a buddy cop science fiction horror film. But does it actually work?! Check out the film on tubitv.com then tune in for the discussion on the Video Junkyard Podcast.

This week we talked about the classic 1980’s slasher film, The Burning. We discussed what we loved about the show and Koji (the hater) talked about what he didn’t like about it—was it a porn? But the best part of this episode is when Quentin recounts how this sits in the history of slasher movie history and Koji reminisces about summer camp.This week we’re asking our listeners to tell one friend about the show and tell them why you enjoy listening to the Midnight Watchers.Movie Info:A former summer camp caretaker, horribly burned from a prank gone wrong, lurks around an upstate New York summer camp bent on killing the teenagers responsible for his disfigurement.Director: Tony MaylamWriters: Harvey Weinstein (original story), Tony Maylam (original story) Stars: Brian Matthews, Leah Ayres, Brian Backer You can watch the trailer:https://www.youtube.com/watch?v=b2aG6HQTHD0 You can watch the whole movie on YouTube here:https://www.youtube.com/watch?v=XsWP2klf3yA Find Us OnlineWebsite: https://midnightwatchers.buzzsprout.com/Facebook: https://www.facebook.com/Midnight-Watchers-Pod-107784637545468/Instagram: https://www.instagram.com/midnightwatcherspod/ About UsIt’s almost midnight… are you ready to join the Midnight Watchers to talk about their favorite strange and scary movies? Every week Watchers Quentin Lee, Koji Steven Sakai, and Jennifer Field will discuss a different thriller or horror, from cult classics, to extreme cinema, to contemporary arthouse flicks.

This episode’s lineup: 1. The Burning (1981) directed by Tony Maylam 2. Bloody Birthday (1981) directed by Ed Hunt 3. Graduation Day (1981) directed by Herb Freed 4. Just Before Dawn (1981) directed by Jeff Lieberman 5. Final Exam (1981) directed by Jimmy Huston 6. Happy Birthday to Me (1981) directed by J. Lee Thompson […] The post 72 – Nineteen, Eighty, and One appeared first on Sticker Fridge Studios.

THE BODY COUNT CONTINUES... Gabe and special guest Patrick Ripoll from Tracks of the Damned are back and continuing their interminable look back at the slasher movies of 1981. The complete list includes 42 films that friends, colleagues, and random people on the internet consider slashers and this time we covered 14 – The Phantom Killer (Directed by Stanley Fung), Bloody Birthday (Directed by Ed Hunt), Friday the 13th Part 2 (Directed by Steve Miner), Graduation Day (Directed by Herb Freed), The Burning (Directed by Tony Maylam), Happy Birthday to Me (Directed by J. Lee Thompson), The Fan (Directed by Ed Bianchi), Final Exam (Directed by Jimmy Huston), Roadgames (Directed by Richard Franklin), Blow Out (Directed by Brian De Palma), Student Bodies (Directed by Mickey Rose), Deadly Blessing (Directed by Wes Craven), The House By the Cemetery (Italian Quella villa accanto al cimitero, Directed by Lucio Fulci), and Evilspeak (Directed by Eric Weston). Follow along and check out what’s coming up using this chronological Letterboxd list: https://letterboxd.com/gabepowers/list/1981-slasher-movies/   Listen to Patrick’s extended thoughts on the Wes Craven’s Scream by listening to this episode of Tracks of the Damned: http://www.nowplayingnetwork.net/tracksofthedamned/s1e14 Episode three should be live in about a month. Stay tuned for our H.P. Lovecraft themed episode with Betsy from Your Favorite Monsters at the beginning of September.

Welcome back for a special episode of the GGtMC in honor and dedication to Rutger Hauer who passed away a few weeks ago at the age of 75. We even welcome back the one and only Large William for coverage of Turkish Delight (1973) directed by Paul Verhoeven and Split Second (1992) directed by Tony Maylam!!! It was amazing to have Will back on the show, like old times, just wish Rutger could still be here to know how much he will be missed. RIP Mr. Hauer Email to midnitecinema@gmail.com Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

This week on Scream Addicts, Jinx welcomes Todd Farmer to the show. The screenwriter of such films as Jason X, My Bloody Valentine, and Drive Angry, Mr. Farmer has chosen Tony Maylam’s 1992 sci-fi/horror film Split Second for discussion this week. In addition to chatting about the film’s 90s era action aesthetic, Rutger Hauer’s anti-hero lead, and the villain’s astonishing resemblance to the Marvel Comics character Venom, Mr. Farmer and Jinx also manage to discuss Burt Reynolds, the Weinsteins, and…the Big Trouble in Little China remake? It's a helluva fun chat with an excellent guest, and it’s one we hope you enjoy. Be sure to subscribe to our show on iTunes, leave feedback, tell your friends about us, and give us a yell on Facebook and Twitter! We are: @todd_farmer @ScreamAddicts @Jinx1981 https://www.patreon.com/mailroom

Motel Hell is back with the fifth entry in the weird news series. Dick Fetti aka Disco Fetti takes the helm and things get several shades darker. Godflesh, child abuse, the Deep Web, toy guns and Big Foot’s dick! It’s all here! In addition the Magnificent Three™ review the 1981 slasher classic “The Burning”, by Tony Maylam. Dick Fetti digs deep into drum & bass for the Disco Box and the Beardo denounces another two films in his “Bad Buys” segment. Disco Box recommendations: Throat – Bareback LP – SVART 2018 Technical Itch – The Fear / Release Me 12” – Penetration Records 2002 Technical Itch – The Rukus / Nitron 12” – Penetration Records 2002 Technical Itch Feat. MC Jakes – Pressure Drop / Shadow Daemon 12” – Penetration Records 2003 Technical Itch Feat. MC Jakes – Life Of Sin / Dream Strike 12” – Penetration Records 2004 Technical Itch – The Rukus (Kryptic Minds & Leon Switch Remix) / Replicator 12” – Penetration Records 2005

Aaah, les vacances. Se reposer. Bien manger. Visiter. Se baigner. Mourir. Car oui, le fantastique et l'horreur ne respectent rien, et pas même les sacro-saints congés, comme en témoigne notre sélection de films de vacances où rien ne se passe comme prévu. Des tueurs fous et/ou mutants, des plantes un peu trop inquisitrices, un gros poisson vorace… Il ne faut parfois pas grand-chose pour transformer un repos bien mérité en trépas bien gratiné !  Avec Véronique Davidson, Xavier Colon, Laurent Duroche, Talal Selhami et Cyril Despontin.
 Réalisation : Xavier Colon
 Musique du générique : Donuts' slap par Laurent Duroche ► Flux RSS pour Android : bit.ly/2FrUwHo 
► En écoute aussi sur Itunes : apple.co/2Enma9n 
► Sur Deezer : www.deezer.com/fr/show/56007 
► Mais aussi sur YouTube : https://www.youtube.com/watch?v=UuOlYyDB4o4 Références des films cités : 
• Mandy de Panos Cosmatos (2018)
 • Krull de Peter Yates (1983) 
• Inferno de Dario Argento (1980) 
• Santa Sangre d’Alejandro Jodorowski (1989) 
• The Terror - série TV adaptée de Dan Simmons diffusée sur AMC (2018)
 • Creepshow 2 de Michael Gornick (1987) 
• Les Dents de la mer de Steven Spielberg (1975) 
• Les Ruines de Carter Smith (2008) 
• Carnage de Tony Maylam (1981)
 • Eden Lake de James Watkins (2008) 
• La Colline a des yeux d’Alexandre Aja (2006) Bande Originale :
 • 28 semaines plus tard de John Murphy (2007)

It looks like it will be another tag team episode while The Ghoul and Demonic Doctor are out preparing for the Thanksgiving holiday but fear not! Your old pal the King of Horror Andy G and the Mad Monkey Will have a pre Thanksgiving Day feast prepared just for you! We'll be discussing Will's film pick this week "The Burning" 1981 directed by Tony Maylam. As always, we have plenty to discuss before we dig in to the main course! So, pull up a chair, a beverage of your choice and enjoy a brand new episode of Talking Terror where we're always burning for you!

Paolo and Carrie go it alone again (naturally) for a discussion of Tony Maylam's 1981 summer camp slasher The Burning. Topics include: blatant continuity errors, spatially impossible murders, and one of the slasher genre's greatest kill scenes.

Kayaks at the ready, fellow podcasteteers; we’re paddling our way to Devil’s Creek this episode as we look at one of the most notorious summer camp slashers of all time. That’s right: it’s time to face the legend of Cropsy in Tony Maylam’s 1981 video nasty classic The Burning. Sheared fingers, Savini makeup, scrotum-faced killers; what’s not to like? To keep us afloat aboard our poorly-constructed makeshift podcast raft, we’ve packed a few beers in our knapsacks: Hell Fire Pale Ale, Shearer English Bitter, Brooklyn Lager, Sierra Nevada Hop Hunter and some Marks & Spencer Suffolk Mosaic Pale Ale.

Let the summer slasher series begin!! Adam and Evan are fresh off of their restrospective look at the Texas Chainsaw Massacre franchise and ready for some good old summer slashing! The first film: "The Burning" from 1981. Old Cropsey (we think that's his name...but who knows) has been burned alive, and his revenge is to swap out the fun from his summer camp for fear. Listen in to hear how it all goes. As always, please feel free to hit us up on email, Facebook, and Twitter! Links below. "The Burning" Director: Tony Maylam Writers: Harvey Weinstein, Tony Maylam, Brad Grey, Peter Lawrence, Bob Weinstein Starring: Brian Matthews, Leah Ayres, Brian Backer, Larry Joshua, Jason Alexander, Fisher Stevens and Lou David. Facebook: facebook.com/podslash Twitter: @podslash Email: podslashpodcast@gmail.com

Welcome to our diabolikdvd.com sponsored episode of the GGtMC!!! This week it was Sammy's turn to program and he selected The Burning (1981) directed by Tony Maylam and The Odd Angry Shot (1979) directed by Tom Jeffrey. You wont want to miss this coverage of two films that defintiely deserve the discussion and attention. Head over to diabolikdvd.com and make some purchases, they have a huge selection and region coded stuff that is hard to find on the store shelves!!! Emails to midnitecinema@gmail.com Voicemails to 206-666-5207 Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

A former summer camp caretaker, horribly burned from a prank gone wrong, lurks around an upstate New York summer camp bent on killing the teenagers responsible for his disfigurement. Director: Tony Maylam Writers: Harvey Weinstein, Tony Maylam, Brad Grey See more » Stars: Brian Matthews, Leah Ayres, Brian Backer See more » --- Send in a voice message: https://anchor.fm/gruesome-hertzogg/message Support this podcast: https://anchor.fm/gruesome-hertzogg/support

A former summer camp caretaker, horribly burned from a prank gone wrong, lurks around an upstate New York summer camp bent on killing the teenagers responsible for his disfigurement. DirectorTony Maylam WritersHarvey Weinstein(original story) Tony Maylam(original story) Brad Grey(original story) StarsBrian Matthews Leah Ayres Brian Backer --- Send in a voice message: https://anchor.fm/gruesome-hertzogg/message Support this podcast: https://anchor.fm/gruesome-hertzogg/support