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14 episodes with TriStar Pictures
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2 episodes with TriStar Pictures
Tell us what you though of the episodeBehind the Scenes stories about the film's production, the inspiration from J.V. Hart's son, and the creative vision of Spielberg, Robin Williams, Dustin Hoffman, and the incredible cast and crew. Get Your Hands on the Rare First Draft of Hook!Want to own a copy of the very first draft screenplay of Hook: The Return of the Captain?For a $25 tax-deductible donation to Lionfish University (a 501(c)(3) non-profit), you'll receive this rare gem written by Jim V. Hart and Nick Castle.How to Donate & Receive the Script
In 1992 Bill Duke teamed up with Laurence Fishburne and Jeff Goldblum to create one of the best film noirs ever made and a masterpiece of Black cinema. Walter Greason and Tim Fielder join in to talk about it, the rise of hip hop, and the early 90s. About our guests:A native of Mississippi, Tim Fielder is an illustrator, cartoonist, animator and OG Afrofuturist. He is the founder of Dieselfunk Studios, an intermedia storytelling company, and is an educator for institutions such as the New York Film Academy and Howard University. Tim has served clients such as Marvel, Tri-Star Pictures, Ubisoft Entertainment, and the Village Voice, and is known for his TEDx Talk on Afrofuturism. He won the prestigious 2018 Glyph Award, and his work has been showcased in the Hammonds House Museum, Exit Art and NYU Gallatin Gallery. He attended Jackson State University, School of Visual Arts, and New York University. He lives in New York City.Walter Greason teaches American and world history, using media ecology, economics, and African diaspora studies. His areas of research include urban planning, Afrofuturism, and multimedia user experience design. He is an author, editor, and contributor to more than twenty books, mostly notably the award-winning books Suburban Erasure and The Black Reparations Project. His work on the Timothy Thomas Fortune Cultural Center has garnered international acclaim for the innovative use of digital technology, leading to multiple urban revitalization projects in Minnesota, Florida, New Jersey, and Louisiana. He has written for or appeared as the feature guest on media outlets ranging from the Washington Post, USA Today, the Canadian Broadcast Channel, the Philadelphia Daily News, the Huffington Post, National Public Radio, Historians at the Movies, the New York Times Read Along, WURD Philadelphia, and Today with Dr. Kaye (WEEA, Baltimore). He was a Future Faculty Fellow at Temple University where he completed his Ph.D. in History and a Presidential Scholar at Villanova University where he studied History, English, Philosophy, Peace and Justice Studies, and Africana Studies. His most recent project, The Graphic History of Hip Hop, with Afrofuturist illustrator Tim Fielder, has been featured at the United Nations, the Smithsonian Institution's National Museum for African American History and Culture, the Metropolitan Museum of Art in New York City, the Schomburg Center in the New York Public Library system, and San Diego Comic-Con in 2024.
Nicole Brown '98 is the president of TriStar Pictures, the famed Sony Pictures division responsible for producing many of the most influential films in movie history. In this episode, Nicole tells her story—from growing up in Culver City and attending public and private schools, before discovering Harvard-Westlake through the Independent School Alliance. It was at HW where Nicole met the late great performing arts teacher Ted Walch, who encouraged Nicole (a budding actor) to consider working “on” student productions—rather than "in" them. The message stuck, leading Nicole to study history and film at Columbia University, pursue a life-changing internship with Marc Platt and executive role at Good Universe, and then finally—seize the opportunity to lead TriStar in 2020. Nicole references Ted Walch of Harvard-Westlake, as well as film producer Marc Platt and Sony Pictures Chairman Tom Rothman, as profound influences and mentors.
Today's guest, Shawna Reininger, with Conscious Enterprise, once sat tall in a 5th Avenue office in NYC as a marketing executive for Tri-Star Pictures. Around the time of her father's unexpected death, she had an awakening, which planted seeds for her to eventually transition into becoming one of the most skilled intuitive business and personal guides I know. She is passionate about teaching individuals how to blend their intuitive intelligence, spiritual wisdom, and pragmatic self to transform themselves into a powerhouse of possibility.We discuss why tapping into the power of intuition is more crucial than ever. We talk about how we can cultivate a deeper relationship with our higher selves, and how our intuition can guide us on a journey of a profound transformation, fulfilment and wellbeing. We also explore the themes of self-connection and love amidst the chaos of the world, the importance of discipline in personal practices and how to navigate resistance on the journey of self-discovery.What is Covered:(00:30) - My experience of working with Shawna(03:28) - How the act of forgiveness propelled my business forward(06:39) - How Conscious Enterprise came about(09:31) - A moment of spiritual awakening for Shawna(12:33) - How Shawna discovered her special intuitive abilities(18:27) - The role of intuition in everyday life(24:31) - Cultivating space for intuition(27:32) - Why connecting to our higher self is so important(34:54) - Embarking on the journey of discipline and spiritual practice(38:15) - How to navigate resistance and inner dialogue(44:13) - The crucial role of intuition in chaotic times(51:55) - The transformative force of love(53:54) - Recognizing numbness and fear in our lives(1:00:30) - Who Shawna works with Resources:- Learn more about Shawna's work http://www.theconsciousenterprise.comAnne-Marie Marron:- If you have a power reclamation story to share or questions, please send them to Ask Anne-Marie https://anne-mariemarron.com/ask - Find Anne-Marie on Instagram https://www.instagram.com/anne.marie.marron/ - If you wonder whether Power Reclamation Coaching is for you, book a discovery call https://calendly.com/anne-marie-marron/30-minute-consultation - For more on customized immersions with Anne-Marie, please visit: https://anne-mariemarron.com/integral-leadership-immersion
Hace poco os hablábamos por aquí de la última película de Tri-Star Pictures como productora independiente con El Gran Halcón, en este episodio hacemos el recorrido a la inversa, es decir la primera. El Mejor, o The Natural en su título original, fue además la segunda película de un gran director (un poco infravalorado) como es Barry Levinson y el regreso a la actuación de Robert Redford tras un ligero parón de unos años por su estreno también en la silla de dirección. Un film de beisbol, de segundas oportunidades, de decisiones equivocadas y que tiene un sabor muy especial que concuerda tal vez poco con el año en el que se hizo. Huele a cine más clásico si acaso, y como tal tiene un toque muy especial. ¿Os venís a repasarla? Pues id cogiendo el bate de béisbol y preparaos que nos toca batear. Presenta, dirige y edita, Salva Vargas. Este programa cuenta con la producción ejecutiva de nuestr@s mecenas, l@s grandes, l@s únicos Kamy, Lobo Columbus, Enfermera en Mordor, Javier Ramírez, Rebe Sánchez, La Casa del Acantilado, Shinyoru, José Percius, Diana, Josemaria1975, Francisco Javier Chacón, Kal-el__80, David y Cohaggen. ¿Quieres ayudarnos a seguir mejorando y creciendo? Pues tienes varias opciones para ello. Dándole Me gusta o Like a este programa. Por supuesto estando suscrito para no perderte ninguno de los próximos episodios, y ya para rematar la faena, compartiendo el podcast con tus amigos en redes sociales y hablando a todo el que te cruce en la calle de nosotros…. Y todo esto encima, GRATIS!!! Y si ya nos quieres mucho, mucho, mucho y te sobra la pasta…. Puedes hacerlo económicamente de varias formas: Apoyo en iVoox: En el botón APOYAR de nuestro canal de iVoox y desde 1,49€ al mes: https://acortar.link/emR6gd Invitándonos a una birra en Ko-Fi: por solo 2€ nos puedes apoyar en: https://ko-fi.com/criterioceropodcast Patreon: por sólo 3€ al mes en: https://patreon.com/CriterioCeroPodcast PayPal: mediante una donación a criterioceropodcast@gmail.com También nos podéis ayudar económicamente de forma indirecta si tenéis pensado suscribiros a las modalidades Premium o Plus de iVoox al hacerlo desde estos enlaces: Premium Anual: https://acortar.link/qhUhCz Premium Mensual: https://acortar.link/gbQ4mp iVoox Plus Mensual: https://acortar.link/y7SDmV Con cada rupia que nos llegue sufragamos los costes del programa al mes, invertiremos en mejorar los equipos y por supuesto, nos daremos algún que otro capricho . Las recompensas por apoyarnos se explican en nuestro blog: https://criterioceropodcast.blogspot.com/2023/08/quieres-ayudar-criterio-cero-mejorar.html Y también puedes seguirnos en nuestras diferentes redes sociales: En Telegram en nuestro grupo: https://t.me/criteriocerogrupo En Facebook en nuestro grupo: https://www.facebook.com/groups/630098904718786 Y en la página: https://www.facebook.com/criterioceropodcast ✖️ En X (el difunto Twitter) como @criteriocero En Instagram como criterioceropodcast En TikTok como criteriocero ✉️ Para ponerte en contacto con nosotros al correo criterioceropodcast@gmail.com De paso aprovechamos para recomendaros podcasts que no debéis perderos: Hudson´s Podcast, Puede ser una charla más, Luces en el horizonte, La Catedral Atroz, La guarida del Sith, Crónicas de Nantucket, Más que cine de los 80, Fílmico, Tiempos de Videoclub, Sector Gaming , El Dátil de ET, La Casa del Acantilado, Kiosko Chispas, Just Live it, Filmotecast
Episode Notes S6E4 -- Join us as we dive into the mind of legendary actor James DuMont. He'll tell us tales from Deepwater Horizon to American Sports Story and much much more.. Noted for his finely crafted and nuanced performances, actor James DuMont is one of the busiest actors in both film and television. DuMont just wrapped his 74th & 75th Feature Film, Amazon's Candy Cane Lane with Eddie Murphy & Unit 234, opposite Don Johnson. James plays "Chad" on HBO's The Righteous Gemstones opposite creator & star, Danny McBride, which is going into its 4th Season in 2024. His 70th performance on television was CBS' FBI. CHECK OUT Ben & Jeff's newest animation and past LIVE episodes at https://redcoraluniverse.com/the-misadventures-of-tobi-duke1 https://redcoraluniverse.com/en/ HELPFUL LINKS: VETERANS: https://www.va.gov/.../mental-health/suicide-prevention/ https://www.veteranscrisisline.net/ https://homebase.org/programs/get-care/ ADDICTION: https://lp.recoverycentersofamerica.com/.../continuum-of.../ https://www.refreshrecoverycenters.com/reclaim-your-life.../ https://drughelpline.org/ Due you know someone that has lost their lives due to addiction? Or even someone that has made a full recovery? Reach out to Johnny Whitaker so they can help to celebrate the lives lost/ lives recovered at overdoseawareness0831@gmail.com NEWS FLASH: You can now purchase Toking with the Dead full novel here https://a.co/d/7uypgZo https://www.barnesandnoble.com/.../toking.../1143414656... OR Show your support by purchasing FB stars. Send stars to the stars fb.com/stars Follow our guest https://www.imdb.com/name/nm0003069/ https://www.instagram.com/jamesdumont/?hl=en https://twitter.com/jameskdumont?lang=en https://www.linkedin.com/in/james-dumont-8ab93b3 https://www.facebook.com/profile.php?id=100067672895074... Toking with the Dead: https://www.stilltoking.com/ https://www.facebook.com/TokingwiththeDead?tn=-]C-R https://www.instagram.com/stilltokingwith/?hl=en https://twitter.com/thetoking?lang=en https://pinecast.com/feed/still-toking-with Check out Toking with the Dead Episode 1 https://www.youtube.com/watch?v=awhL5FyW_j4 Check out Toking with the Dead Episode 2 https://www.youtube.com/watch?v=SaUai58ua6o Buy awesome Merchandise! https://www.stilltoking.com/toking-with-the-dead-train https://teespring.com/stores/still-toking-with Our booking agent: https://www.facebook.com/AmyMakepeace https://www.facebook.com/groups/3770117099673924 Sponsorship Opportunities: https://www.stilltoking.com/become-a-sponsor or email us at bartlett52108@gmail.com thetokingdead@gmail.com ————————————— Follow Still Toking With and their friends! https://smartpa.ge/5zv1 https://thedorkeningpodcastnetwork.com/ ————————————— Produced by Leo Pond and The Dorkening Podcast Network https://TheDorkening.com Facebook.com/TheDorkening Youtube.com/TheDorkening Twitter.com/TheDorkening MORE ABOUT THE GUEST: James is best known for Focus Features' Dallas Buyers Club opposite Oscar winner, Jared Leto where he played his father. Mr. DuMont has amassed a glowing array of memorable characters in both film & television such as Track Suit Charle in the Netflix feature Spenser Confidential which was watched by over 75 Million households & is James' 3rd collaboration is both Director, Peter Berg & Mark Wahlberg having worked with them on CBS Films' Patriots Day and Lionsgates' Deepwater Horizon. Sheriff Charnitski in the Apple TV Series Black Bird & Recurring as Randy Finch in the Showtime series City On A Hill. James has added to his growing gallery of historical characters on film most recently with Senator McClellan on Apple TV's The Banker starring Samuel L. Jackson & Anthony Mackie, J. Parnell Thomas in Trumbo opposite Oscar nominee, Bryan Cranston & Sherman Adams opposite the late Oscar winner, Robin Williams' in Lee Daniels' The Butler. Recent Mini Series work include the 2022 Golden Globe winner Amazons' The Underground Railroad from Oscar winning director, Barry Jenkins. Mr. DuMont has had recurring role on NBC's Law & Order: True Crime: The Menendez Murders & the F/X series American Horror Story-Freak Show & Coven & the Lifetime/History Channels' Bonnie and Clyde. His most recent guest star roles on television include CBS' Magnum PI & The Good Fight, NBC's Timeless, Netflix cult hit Stranger Things, Fox series 24: Legacy and CBS' CSI: New Orleans. James' recent film work includes Disney+'s Safety, Sony Classic Pictures Hank Williams bio-pic I Saw The Light & Universals' blockbuster Jurassic World & James Brown bio-pic Get On Up, TriStar Pictures' When The Game Stands Tall & indie features The Hammer, Landline & Catch Hell starring Ryan Phillippe, which is also his directorial debut. See less Find out more at https://still-toking-with.pinecast.co Send us your feedback online: https://pinecast.com/feedback/still-toking-with/d5bd9522-d9bb-45e5-9930-427ec97b2fe5
Welcome to Multiverse News, Your source for Information about all your favorite fictional universes Marvel finally gave us our first official look at The Fantastic Four: First Steps with the release of the teaser trailer during a special launch event Tuesday morning, for which The First Family's cast itself was on hand to present AND WHAT A TRAILER IT WAS…Marvel led the drop with a space race-esque countdown in theme with the film's 1960s aesthetic. We met all of the four main characters and even saw a glimpse of the biggest bad of all…Galactus. Last week we reported on Doctor Strange actor Benedict Cumberbatch's statements about officially not being a part of Avengers: Doomsday. The very next day the actor recanted his claims in an interview with Business Insider, saying, "I got that wrong, I am in the next one,” adding, "Don't ever believe anything I say." Elsewhere, Chris Evans had a record of his own to set straight, denying the many reports that he has been cast to return in Doomsday while speaking with Esquire, claiming, “That's not true, though. This always happens. I mean, it happens every couple years — ever since Endgame. I've just stopped responding to it. Yeah, no — happily retired!” Finally, in an interview on Andy Cohen Live, the legendary Patti LuPone may have shed some light on the future of Disney Plus series WandaVision and Agatha All Along, saying showrunner Jac Schaeffer told her she doesn't do second seasons. Sunday's Super Bowl LIX, where the Kansas City Chiefs will defend their title against the Philadelphia Eagles, is bound to bring a bevy of trailers for movies and series in tow, but let's talk about what exactly is confirmed, expected, predicted, and everything in between: only three motion picture studios have been willing to invest the substantial sum of $7.5 to $8 million for a single 30-second commercial spot: Disney, Paramount, and Universal. Disney plans to showcase trailers for several anticipated films, including the live-action remake of Snow White, the animated feature Lilo & Stitch, the original animated film Elio, and upcoming Marvel entries such as Thunderbolts*. Paramount is expected to promote its diverse lineup, which includes the Jack Quaid-led action film Novocaine, a musical Smurfs movie featuring Rihanna, and the latest installment in the Mission Impossible franchise, Final Reckoning. Universal may reveal trailers for How To Train Your Dragon, the horror sequel M3GAN 2.0, and Jurassic World Rebirth. Notably absent is Warner Bros and DC Studios. Actor-director Benny Safdie will join Christopher Nolan's upcoming film The Odyssey, following his role as Edward Teller in Oppenheimer. Recent cast additions include Elliot Page, Himesh Patel, Bill Irwin, and Samantha Morton. Netflix is developing a new Little House on the Prairie series, 40 years after NBC's original adaptation, this time with Rebecca Sonnenshine of The Vampire Diaries and The Boys as showrunner. Jake Gyllenhaal will star in M. Night Shyamalan's upcoming supernatural romantic thriller, which Shyamalan and Nicholas Sparks are collaboratively developing as both a film screenplay and a novel. Sony Pictures has set a release date of August 29th for Darren Aronofsky‘s Austin Butler-led feature Caught Stealing. The film that previously held that date, the sixth film in the Insidious franchise, has moved back a year to Aug. 21, 2026. Robert Eggers has closed a deal to write and direct a new Labyrinth film for TriStar Pictures. Plot details are under wraps, but sources tell Deadine that the film is a sequel to, rather than a remake of, Jim Henson's 1986 classic.
Daniel and Erwin review the new comedy "One of them Days" starring Keke Palmer and SZA. They talk about how funny it is, Issa Rae's involvement, the tributes to 90's comedies like "Friday" and so much more! Did they love it, did they hate it, or are they Somewhere Between!? Listen to find out!Description:When her boyfriend takes her rent money, Alyssa and her roommate race against the clock to avoid eviction and keep their friendship intact.Release date: January 17, 2025 (USA)Director: Lawrence LamontProducers: Issa Rae, Sara Rastogi, Deniese Davis, Poppy Hanks, James LopezDistributed by: Sony Pictures ReleasingBudget: $14 millionProduction companies: TriStar Pictures; Hoorae Media; ColorCreative; Big Boss; MACRO
DEB SHORT BIODeborah Attoinese is an award-winning director, producer and writer. Originally from New York Deborah began her career as a self-taught fashion photographer. Her signature style appeared has appeared in the pages of Conde Nast Publications, The Sunday New York Times, Details Magazine and more. Her directing work has been shown on Netflix, Cinemax and Showtime and include Hollywood Pictures, Tri-Star Pictures, Curb Entertainment and Bill Kenwright Productions among others.Her most recent work is her award winning documentary PLAYING WITH FIRE. Which follows the story of Abby Bolt, a twenty-two year Battalion Chief and wildland firefighter in the U.S. Forest Service who was sexually assaulted while on assignment.Deborah " I've spent the last six + years working on this film and canhonestly say I had no intention of making until it found me. As my friend Virginia would say "the universe was directing traffic." I often say that making this film was like learning a new language. Meeting such fierce woman who love the job of fighting wildland fire and being true stewards of the land. PLAYING WITH FIRE dropped on Amazon in September 2024.CHARLES BURNETT PRESENTSAn award winning documentary film by Deborah AttoineseWinner Best Cinematographer DTLA FF 2023Winner Best Documentary-Audience Award Marina Del Rey FF 2024Winner Impact Docs Awards of Merit 2023vimeo.com/922713938/e3408c1241 | | PLAYING WITH FIRE TrailerPWF LINKSAMAZON USA bit.ly/PLAYINGWITHFIREAMAZON UK www.amazon.co.uk/gp/video/detail/B0D6BCFVFPPLAYING WITH FIRE WEBSITEdattoinese.wixsite.com/playingwithfire#alittlelessfearpodcast #podcast #podcastshow #documentary #director #writer #producer #inthelineoffire #firefighter #women #womensrights #womenfirefighters #womanfirefighter #blowthewhistle #sexualharrassment #bullies #awareness #insight #support #love #fyp #foryoupage #foryourpage This is Dr. Lino Martinez the host for A Little Less Fear Podcast. For more information, please use the information below. Thanks so much for your support!Author | A Little Less FearA Little LESS FEAR Podcast (@alittlelessfearpodcast) • Instagram photos and videosLino Marinez (@alittlelessfear) TikTok | Watch Lino Marinez's Newest TikTok Videos(4) A Little Less Fear Podcast - YouTube
THE FOLLOWING RESTRICTED PODCAST HAS BEEN APPROVED FOR APPROPRIATE AUDIENCES BY THE COMIC BOOK ADAPTATION ASSOCIATION OF AMERICA, INC. Rated R for sci-fi violence, bloody images, language and some sexuality/nudity. Robert Heinlein's Starship Soldier (1959) 00:00:54 Insect Touch (1997) by Gordon Rennie, Warren Ellis, Paolo Parente, & Davide Fabbri 00:10:09 Brute Creations (1997) by Jan Strnad & Tommy Lee Edwards 00:15:51 Starship Troopers #1 (1997) by Bruce Jones, Mitch Byrd, Art Adams, & Andrew Pepoy 00:18:59 Starship Troopers #2 (1997) 00:26:19 “Flashback”/TPB (1997) by Jan Strnad & Tommy Lee Edwards 00:32:01 Dominant Species (1998) by Jan Strnad & Davide Fabbri 00:34:09 Starship Troopers 2: Hero of the Federation (2004) 00:39:09 Markosia Mongoose (2005-2007) 00:43:41 Starship Troopers 3: Marauder (2008) 00:54:21 Starship Troopers: Invasion (2012) 01:00:54 Starship Troopers: Traitor of Mars (2017) 01:01:24 MU/TH/UR 4600 01:23:01 episode art gallery blog post TriStar Pictures, Starship Troopers, Aliens Podcast, Comic Books, Dark Horse Comics, Dark Horse Presents
Nouvelle saison et déjà nouvelle embrouille puisque pour ce premier podcast de la saison 4 de Shitlist, nous avons décidé de ne pas nous échauffer, et aller directement dans le tas et de parler ensemble du film doudou générationnel qui a bercé l'enfance de bons nombres de cinéphiles et d'adorateur de la POPCULTURE Produit avec un budget de 70 millions de dollars coproduit entre Amblin et Sony via sa société Tristar Pictures. Idée du film à la base de Nick Castle, l'acteur qui interprète Michael Myers dans Halloween de Carpenter.Script écrit par Jim V.Hart et Malia Scotch Marmo.Réalisé par Steven Spielberg et accompagné à la photo de Dean Cundey, un des plus éminents chef op des années 80 puisqu'il est derrière la lumière de la trilogie Retour vers le futur, The Thing, Escape from New York, Halloween, qui veut la peau de Roger Rabbit et entre autre le film Road House Le temps a passé et Peter Pan incarné par Robin Williams a vieilli et oublié le Pays imaginaire. Il a épousé Moira, la petite-fille de Wendy, avec qui il a eu deux enfants, et est devenu Peter Banning, un avocat d'affaires obsédé par son travail. Mais le capitaine Crochet sous les traits de Dustin Hoffman, qu'il croyait mort, fait enlever ses enfants. Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs La liste de la Shitlist sur Senscritiquehttps://www.senscritique.com/liste/la_shitlist/3657768? La liste de la Shitlist sur Letterboxd par WongKarWaifu https://boxd.it/pQN3e Soutenez nous sur PatreonForfait 3€ épisode en accès anticipé sans pubForfait 5 € épisode en accès anticipé sans Pub + Accès aux Podcasts Exclusifs Si vous souhaitez soutenir ou aider notre Podcast Shitlist gratuitementNous vous demandons simplement de mettre des commentaires 5 étoiles avec un joli commentaire sur Apple Podcasts, Itunes ou Podcast Addict en vous remerciant par avance. Par ailleurs vous avez toujours la possibilité de nous envoyer vos suggestions de sujet pour qu'on en parle dans l'émission à l'adresse suivante shitlistpodcast@gmail.com Enregistré en live sur notre chaîne twitch ABONNEZ-VOUS ! Rattrapez le live sur notre chaine youtube Ne ratez aucun numéro, suivez-nous sur Twitter et Instagram Chroniqueur.e.es : Marvin MONTES, Manu.e PEUDON, Karim BERRADIA et présenté par Luc LE GONIDEC Host : Luc LE GONIDECMusique Jean Baptise BLAISMontage et mixage son : Luc LE GONIDEC
Longtime patreon saint The Meg has chosen a movie as epic as her own name. This verson of Godzilla, driven mostly Matthew Broderick, cast a large looming shadow over 1998. Join the gang as we talk about Zilla, non-heat-seeking missles, and Siskel & Ebert. EDITOR'S NOTE: Kylo referenced Godzilla and Ultraman, but he should have said Jet Jaguar. He's very sorry. ****** During a nuclear test, the French government inadvertently mutates a lizard nest; years later, a giant lizard makes its way to New York City. Dr. Niko Tatopoulos (Matthew Broderick), an expert on the effects of radiation on animals, is sent by the U.S. government to study the beast. When the creature, dubbed "Godzilla" by news outlets, emerges, a massive battle with the military begins. To make matters worse, Niko discovers that Godzilla has laid a nest of 200 eggs, which are ready to hatch. Release date: May 20, 1998 (USA) Director: Roland Emmerich Budget: 125 million USD Box office: 379 million USD Distributed by: TriStar Pictures, Sony Pictures Nickname: Zilla
Editor - Terilyn A. Shropshire, ACE TWISTERS editor Terilyn Shropshire has more than a few action movies under her belt, but those films mostly featured action in the style of man (or woman) vs. man; films like THE OLD GUARD and THE WOMAN KING. This time Teri takes on Mother Nature in a film where the visual effects are front and center in the set pieces. A standalone "spiritual" sequel to TWISTER (1996), TWISTERS tells the story of scientist and storm chaser, Kate Cooper. Haunted by a devastating encounter with a tornado, Kate gets lured back to the open plains by her friend, Javi, to test a groundbreaking new tracking system. She soon crosses paths with Tyler Owens, a charming but reckless social-media superstar who thrives on posting his storm-chasing adventures. As storm season intensifies, Kate, Tyler and their competing teams find themselves in a fight for their lives as multiple systems converge over central Oklahoma. TERILYN A. SHROPSHIRE, ACE Award-winning editor Terilyn A. Shropshire has risen to the pinnacle of the editing world over the course of her long career, consistently working on a broad range of films with the industry's foremost filmmakers. Shropshire's success spans many forms and mediums, and always accumulates accolades from both the industry and critics alike. Among Shropshire's longtime collaborators is award-winning director/writer/producer Gina Prince-Bythewood, having worked with her closely since Bythewood's classic debut, “Love & Basketball.” Shropshire most recently worked with Bythewood on “The Woman King,” for Sony's Tristar Pictures. Among the many accolades Shropshire received for the film include an American Cinema Editors Eddie nomination for Best Edited Feature Film Drama Theatrical and winner for Outstanding Editing from the Black Reel Awards. Other collaborations with Prince-Bythewood include the influential features “The Old Guard,” “Beyond the Lights,” and “The Secret Life of Bees.” Shropshire's storied career also includes a number of films with long-time collaborator, Kasi Lemmons – the classic Southern drama “Eve's Bayou,” along with “The Caveman's Valentine,” “Talk to Me,” and “Black Nativity.” In 2019, Shropshire received an American Cinema Editors Eddie nomination for her work on Part 1 of Netflix's four-part miniseries “When They See Us,” directed by Ava DuVernay. Shropshire earned an Emmy nomination for her Lifetime Achievement Award Tribute to Sidney Poitier for the 74th Annual Academy Awards and an ACE Eddie Award for the Jamie Foxx-starring crime drama, “Redemption: The Stan Tookie Williams Story.” Teri serves on the Board of Governors at the Academy of Motion Picture Arts and Sciences and the Board of American Cinema Editors. Shropshire is a member of the Academy of Television Arts and Sciences and the Diversity Committee of the Motion Picture Editor's Guild. She is the recipient of the 2021 Sundance Institute/Adobe Mentorship Award for her commitment to supporting the future's rising stars in the craft. She earned dual Bachelor of Arts degrees in Broadcast Journalism and Cinema at the University of Southern California. Editing TWISTERS In our discussion with TWISTERS editor Terilyn Shropshire, we talk about: Soundtracks for stormy weather Cyclonic oners A need for editorial amnesia "Teri-nadoes" The kiss that never came The Credits Visit Extreme Music for all your production audio needs Hear Teri talk about his work on THE OLD GUARD and THE WOMAN KING See the latest new features in Avid Media Composer Subscribe to The Rough Cut podcast and never miss an episode Visit The Rough Cut on YouTube
This week, we're going back to 1997 with the now-cult classic sci-fi film review of Starship Troopers! Doing their part, Alex & Dan return to the sofa with a retrospective review of what was initially a concern of a far-right advertisement and alleged wooden performances by a stellar line up! Discussing the production, plot, reviews and how it ended up creating a range of sequels and spin off's, the duo guide you through the gory adventures of Jonny Rico and Dizzy! Recounting their memories of when they first saw the film (Alex at one of his earliest pre-teen sleep overs!) and Dan's dodgy tape deliveries at the back of a van, it's another trip down the nostalgia lane for the dynamic southcoast duo! Alex also needs to explain the birds and the bees with Dan, with an uncomfortable parental discussion on arousing thoughts... who'd have thought this podcast would remain in the gutter? Come on! We all did, let's face it..... #GITS
In this week's new issue of The Comic Section Podcast, the hosts delve into several noteworthy developments in the entertainment world. They kick off the discussion with President Biden's recent signing of a law aimed at banning Chinese-owned TikTok unless it is sold within a year. TikTok has responded by vowing to take legal action against the Biden administration, arguing that the law would infringe upon the free speech rights of millions of Americans. Next, they share exciting news about Leonardo DiCaprio's casting as Frank Sinatra in an upcoming biopic directed by Martin Scorsese, with Jennifer Lawrence set to star opposite him. They also discuss the release window announcement for Netflix's "One Piece" season 2, revealing that pre-production is underway and production is slated to begin this summer. The hosts then turn their attention to the potential revival of "Clue" for both film and TV formats, following a deal between Hasbro Entertainment and Sony's TriStar Pictures and Sony Pictures Television for the rights to the beloved board game. In the coming soon/preview segment, they check out the brand new trailer for "Deadpool & Wolverine," generating anticipation among fans. Lastly, in the review segment, Rigel shares his thoughts on "Spy × Family Code: White," while Ant provides insights into the latest from "X-Men 97." Tune in to hear their analysis and opinions on these latest developments!
Prince Harry & Meghan, The Duke & Duchess of Sussex are headed back to the UK and to Africa! Do the remaining British Royals Cost MORE Than They Make British Taxpayers? Introducing our Pop Culture Segment: Issa Rae's new project announced as Amanda Seales' drama goes viral Misan Harriman's new project has started filming! ___________________________________________________________________________________ Sources 1. Sussex.com | Responsible Technology Youth Power Fund Convenes in New York: https://archewell.org/news/responsible-technology-youth-power-fund-convenes-in-new-york/ 2. CNN | Prince Harry Will Be Back in Britian Next Month: https://www.cnn.com/2024/04/28/uk/prince-harry-return-uk-invictus-games-anniversary-intl-gbr-scli/index.html 3. Associated Press | Prince Harry and Meghan to Visit Nigeria in May for Invictus Games Talks: https://apnews.com/article/prince-harry-nigeria-invictus-games-5435e9f22d38ac4bad8624200e9e0ddf 4. Africa News | Statement of Brig. Gen. Tukur Gusau: https://www.africanews.com/2024/04/29/prince-harry-and-meghan-to-visit-nigeria-in-may-for-invictus-games-talks// 5. People | Meghan & Harry to Visit Nigeria in May for a Special Reason: https://people.com/meghan-markle-and-prince-harry-to-visit-nigeria-in-may-8640132 6. Alex Conran Corrects Royal Myth: https://x.com/JeremyVineOn5/status/1784901599669752110 7. Archetypes | Upending the Angry Black Woman Myth: https://lemonadamedia.com/show/archetypes/ 8. Deadline | Keke Palmer & Sza to Star in Issa Rae-Produced Buddy Comedy from TriStar Pictures: https://deadline.com/2024/04/keke-palmer-sza-issa-rae-tristar-pictures-1235896290/ 9. People | Insecure Alum Amanda Seales Addresses Issa Rae Feud Rumors and Claims She Was a Mean Girl on Set: https://people.com/insecure-alum-amanda-seales-addresses-issa-rae-feud-rumors-and-claims-she-was-a-mean-girl-on-set-8639332 10. Deadline | Protest and Progress: Misan Harriman's Social Change Doc for Paramounth+ Begins Filming: https://deadline.com/2024/02/protest-progress-misan-harriman-paramount-plus-doc-filming-1235839365/
Put on your nostalgia glasses, because this one might get controversial. We're talking about Steven Spielberg's Hook. It's a movie that the critics didn't love, but we kids did, damnit! Who was right? How has this movie aged? How does Peter Pan age? How does memory work? Are you petty enough to walk up a staircase backwards to maximize hook damage? Did J.M. Barrie say "Lookie lookie, I got bookie!" as he stole this story from a child? How does any of this work!? *Hook © 1991 TriStar Pictures, Inc.
"THAT'S A LOT OF FISH!" *AUDIENCE CLAPS, CRIES, AND THROWS UP* Near the end of the Heisei Era -- and supposedly Godzilla in general -- Toho decided to see what Hollywood could do with the King of the Monsters, selling the filmmaking rights to Sony's TriStar Pictures. What started off as a promising and faithful project helmed by Jan de Bont soon spiraled and degraded over the course of five years into the disrespectful and abysmal adaptation helmed by Roland Emmerich. This film is one of the quintessential cases of Hollywood's infamous handlings of preexisting IPs, and it's finally time for us to see how bad this barrel of fish stinks. So, come watch with Brian and Alec as they revisit one of the most infamous blockbuster adaptations of all time, Godzilla 1998!
Mike Matessino joins me on the 'Hook' Fan Podcast for a live interview to discuss his work on producing the "HOOK – The Ultimate Edition: Expanded & Remastered" 3-CD set! Find out more about the CD release here: https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/ Exclusive interview for www.hook-movie.com. Join the Hook Movie Fan Community Facebook page: www.facebook.com/hookmovie This live interview is presented by Tammy Tuckey (www.tammytuckey.com;) and Thomas Robert (www.hook-movie.com). The www.hook-movie.com is an unofficial website. This is a project made by fans for fans. Hook is the property of Tri-Star Pictures, Inc. © 1991 | TriStar Pictures, Inc. is owned by Sony Pictures Entertainment. Follow Tammy on: Facebook - www.facebook.com/singertammytuckey Twitter & Instagram - @TammyTuckey www.tammytuckey.com
The Pirate Ladies (actresses Randi Cee, Mary Bond Davis & Kim O'Kelley-Leigh), along with choreographer Vincent Paterson, joined me for a live interview to discuss their work onset & onscreen for the film, "Hook," for the Hook Fan Podcast! Find out more about the "HOOK – The Ultimate Edition: Expanded & Remastered" 3-CD set here: https://lalalandrecords.com/hook-the-ultimate-edition-expanded-remastered-limited-edition-3-cd-set/ Exclusive live interview presented by Tammy Tuckey (www.tammytuckey.com;) for Thomas Robert (www.hook-movie.com) Join the Hook Movie Fan Community Facebook page: www.facebook.com/hookmovie The www.hook-movie.com is an unofficial website. This is a project made by fans for fans. Hook is the property of Tri-Star Pictures, Inc. © 1991 | TriStar Pictures, Inc. is owned by Sony Pictures Entertainment. Follow Tammy on: Facebook - www.facebook.com/singertammytuckey Twitter & Instagram - @TammyTuckey www.tammytuckey.com
Don't Kill the Messenger with movie research expert Kevin Goetz
Kevin is joined by the President of TriStar Pictures, Nicole BrownJoin host Kevin Goetz as he engages Nicole Brown in a conversation about her career evolution from child actor to President of TriStar Pictures. Tracing her early acting jobs to producing and executive roles, Brown imparts thoughtful wisdom on creative collaboration, test screenings, and keeping audiences engaged. She shares insights on balancing bold artistic visions with commercial success, studio involvement, and the importance of innovation. From her experiences shepherding original films like The Woman King, Baby Driver, and A Beautiful Day in the Neighborhood, Brown offers revelations on what goes into crafting compelling films. She also has advice for emerging talent looking to push the industry forward.Early Life and Career (4:23)Brown describes getting bitten by the acting bug as a child growing up in Culver City, California. She began booking commercials and roles in shows she watched on TV. She reflects on how quickly acting went from an extracurricular activity to a central part of her young life.Transition to Producing (6:05)When Brown attended Columbia University, she began realizing that she derived more joy from facilitating creative projects behind the scenes than being on camera.Internship with Marc Platt (11:08)After college, Brown landed a career-changing summer internship with powerhouse producer Marc Platt. She sat in on his meetings at a major studio and soaked up his openness to ideas.Insights on Studio-Filmmaker Collaboration (19:24)Brown stresses that every film requires a different type of creative dance between the studio and the director. She notes that the studio's level of involvement often depends on the director's proven track record and the film's genre.The Origin Story of The Woman King (25:16)Brown traces how the idea for The Woman King originated when Viola Davis approached her eager to play a fierce African general leading an elite female army.Elements of Successful Theatrical Films in a Changing Landscape (31:19)Brown believes today's films require a sense of spectacle, urgency, and relevance that makes audiences eager to experience them immediately on the big screen.The Power of Test Screenings (36:28)Brown values seeing real audiences experience a film during test screenings. Beyond just the questionnaire data, she learns a great deal from the crowd's audible reactions and body language.Advice to Emerging Talent (40:21)Brown urges the next generation to fully immerse themselves in cinematic history and all forms of storytelling. But she also challenges them to then throw out the rulebook and bring completely new, bold ideas to revolutionize filmmaking.Tune in as host Kevin Goetz and Nicole Brown unpack valuable filmmaking lessons.Host: Kevin GoetzGuest: Nicole BrownProducer: Kari CampanoWriters: Kevin Goetz, Darlene Hayman, and Kari CampanoFor more information about Nicole Brown:Wikipedia: https://en.wikipedia.org/wiki/Nicole_Brown_(film_executive)IMDB: https://www.imdb.com/name/nm0114352/Sony Pictures: https://www.sonypictures.com/For more information about Kevin Goetz:Website: www.KevinGoetz360.comAudienceology Book: https://www.simonandschuster.com/books/Audience-ology/Kevin-Goetz/9781982186678Facebook, Twitter, Instagram: @KevinGoetz360Linked In @Kevin GoetzScreen Engine/ASI Website:
This episode of The Madd Hatta Show podcast, listeners are treated to a thought-provoking conversation that bridges the realms of academia and creativity. Dr. Toniesha Taylor, the Department Chair and Associate Professor of Communications at Texas Southern University, joins the podcast to discuss Afrofuturism, a genre that explores the intersection of African diaspora culture, technology, and speculative fiction.Accompanying Dr. Taylor in this engaging discussion is Tim Fielder, a luminary in the world of illustration, cartooning, and Afrofuturism. As the founder of Dieselfunk Studios, Tim has carved a unique space in intermedia storytelling. A seasoned educator at institutions like the New York Film Academy and Howard University, Tim's creative journey has traversed major collaborations with Marvel, Tri-Star Pictures, Ubisoft Entertainment, and more. Listeners will get an exclusive glimpse into Tim Fielder's dynamic career, including insights into Tim's latest collaborative venture, "The Graphic History of Hip Hop" with Walter Greason.
Alexis Hejna and Dorian Price present their Thanksgiving 2023 Movie Review!Thanksgiving is a 2023 American slasher film directed by Eli Roth, from a screenplay written by Jeff Rendell and a story by Roth and Rendell, who produced with Roger Birnbaum. Based on Roth's fictitious trailer of the same name from Grindhouse (2007), it is the third feature-length adaptation of a fictitious Grindhouse trailer after Robert Rodriguez's Machete (2010) and Jason Eisener's Hobo with a Shotgun (2011). The film stars Patrick Dempsey, Addison Rae, Milo Manheim, Jalen Thomas Brooks, Nell Verlaque, Rick Hoffman, and Gina Gershon.Thanksgiving was released in the United States by TriStar Pictures on November 17, 2023. The film received generally positive reviews from critics and has grossed $29.9 million.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich
The Blob is a 1988 American science fiction horror film co-written and directed by Chuck Russell. A remake of the 1958 film of the same name, it stars Shawnee Smith, Kevin Dillon, Donovan Leitch, Jeffrey DeMunn, Paul McCrane, Art LaFleur, Robert Axelrod, Joe Seneca, Del Close and Candy Clark. The plot follows an acidic, amoeba-like organism that crashes down to Earth in a military satellite, which devours and dissolves anything in its path as it grows. It is the third film in The Blob film series. FRUMESS is POWERED by www.riotstickers.com/frumess GET 1000 STICKERS FOR $79 RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess
Jesse Starcher, Mark Radulich, Alexis Hejna, Lilly and Jonas Radulich all take a look at Godzilla wreaking havoc in New York!Godzilla is a 1998 American monster film directed and co-written by Roland Emmerich. Produced by Centropolis Entertainment, Fried Films, and Independent Pictures, and distributed by TriStar Pictures, it is a reboot of Toho Co., Ltd.'s Godzilla franchise. It is also the 23rd film in the franchise and the first Godzilla film to be completely produced by a Hollywood studio. The film stars Matthew Broderick, Jean Reno, Maria Pitillo, Hank Azaria, Kevin Dunn, Michael Lerner, and Harry Shearer. The film is dedicated to Tomoyuki Tanaka, the co-creator and producer of various Godzilla films, who died in April 1997. In the film, authorities investigate and battle a giant monster who migrates to New York City to nest its young.Disclaimer: The following may contain offensive language, adult humor, and/or content that some viewers may find offensive – The views and opinions expressed by any one speaker does not explicitly or necessarily reflect or represent those of Mark Radulich or W2M Network.Mark Radulich and his wacky podcast on all the things:https://linktr.ee/markkind76alsoFB Messenger: Mark Radulich LCSWTiktok: @markradulichtwitter: @MarkRadulich
Is it that last week of the month? SHO'NUFF! Is it a listener pick episode? SHO'NUFF! Did Dean understand the assignment? SHO'NUFF! The fact that The Last Dragon flew under our radar this long is criminal, because it's EXACTLY our kind of movie. *The Last Dragon © 1985 Tristar Pictures, Inc.
This week on On Story, writer Edward Neumeier discusses his creative process behind the sci-fi cult classics RoboCop and Starship Troopers. Neumeier explores the particulars of writing for the genre, as well as his knack for disguising deep issues within expansive and captivating stories. Clips of RoboCop courtesy of Orion Pictures. Clips of Starship Troopers courtesy of TriStar Pictures.
On this episode, we continue our informal miniseries on the 1980s movies of director Martha Coolidge with a look back at her 1985 under appreciated classic, Real Genius. ----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. Before we hop in to today's episode, I want to thank every person listening, from whatever part of the planet you're at. Over the nearly four years I've been doing this podcast, we've had listeners from 171 of the 197 countries, and occasionally it's very surreal for this California kid who didn't amount to much of anything growing to think there are people in Myanmar and the Ukraine and other countries dealing with war within their borders who still find time to listen to new episodes of a podcast about 33 plus year old mostly American movies when they're released. I don't take your listenership lightly, and I just want you to know that I truly appreciate it. Thank you. Okay, with that, I would like to welcome you all to Part Three of our informal miniseries on the 1980s movies of director Martha Coolidge. When we left Ms. Coolidge on our previous episode, her movie Joy of Sex had bombed, miserably. But, lucky for her, she had already been hired to work on Real Genius before Joy of Sex had been released. The script for Real Genius, co-written by Neal Israel and Pat Proft, the writers of Bachelor Party, had been floating around Hollywood for a few years. It would tell the story of a highly intelligent high school kid named Mitch who would be recruited to attend a prestigious CalTech-like college called Pacific Tech, where he would be teamed with another genius, Chris, to build a special laser with their professor, not knowing the laser is to be used as a weapon to take out enemy combatants from a drone-like plane 30,000 feet above the Earth. ABC Motion Pictures, a theatrical subsidy of the American television network geared towards creating movies that could be successful in theatres before playing on television, would acquire the screenplay in the early 1980s, but after the relative failure of a number of their initial projects, including National Lampoon's Class Reunion and Young Doctors in Love, would sell the project off to Columbia Pictures, who would make the film one of the first slate of films to be produced by their sister company Tri-Star Pictures, a joint venture between Columbia, the cable network Home Box Office, and, ironically, the CBS television network, which was also created towards creating movies that could be successful in theatres before playing on television. Tri-Star would assign Brian Grazer, a television producer at Paramount who had segued to movies after meeting with Ron Howard during the actor's last years on Happy Days, producing Howard's 1982 film Night Shift and 1984 film Splash, to develop the film. One of Grazer's first moves would be to hire Lowell Ganz and Babaloo Mandel, writers on Happy Days who helped to create Laverne and Shirley and Joanie Loves Chachi, to rewrite the script to attract a director. Ganz and Mandel had also written Night Shift and rewrote the script for Splash, and Grazer considered them his lucky charm. After trying to convince Ron Howard to board the project instead of Cocoon, Grazer would create a list of up and coming filmmakers he would want to work with. And toward the top of that list was Martha Coolidge. Coolidge would naturally gravitate towards Real Genius, and she would have an advantage that no other filmmaker on Grazer's list would have: her fiancee, Michael Backes, was himself an egghead, a genius in physics and biochemistry who in the years to come would become good friends with the writer and filmmaker Michael Crichton, working as a graphics supervisor on the movie version of Chricton's book Jurassic Park, a co-writer of the screenplay based on Chricton's book Rising Sun, and an associate producer on the movie version of Chricton's book Congo. Once Coolidge was signed on to direct Real Genius in the spring of 1984, she and Backes would work with former SCTV writer and performer PJ Torokvei as they would spend time talking to dozens of science students at CalTech and USC, researching laser technology, and the policies of the CIA. They would shape the project to something closer to what Grazer said he loved most about its possibility, the possibility of genius. "To me,” Grazer would tell an interviewer around the time of the film's release, “a genius is someone who can do something magical, like solve a complex problem in his head while I'm still trying to figure out the question. I don't pretend to understand it, but the results are everywhere around us. We work, travel, amuse ourselves and enhance the quality of life through technology, all of which traces back to what was once an abstract idea in the mind of some genius.” When their revised screenplay got the green light from the studio with an $8m budget, Grazer and Coolidge got to the task of casting the film. While the young genius Mitch was ostensibly the lead character in the film, his roommate Chris would need a star to balance out the relative obscurity of his co-star. A number of young actors in Hollywood would be seen, but their choice would be 25 year old Val Kilmer, whose first movie, Top Secret!, had not yet opened in theatres but had hot buzz going for it as the followup film for the Airplane! writing/directing team of Zucker, Abrahams and Zucker. Fourteen year old Gabe Jarret, whose only previous film work had been in a minor role in the 1981 Tony Danza/Danny DeVito comedy Going Ape!, would land the coveted role of Mitch, while supporting roles would go to Coolidge's former costars Michelle Meyrink, Deborah Foreman and Robert Prescott, as well as William Atherton, who at the time was on movie screens as Walter Peck, the main human antagonist to the Ghostbusters, as Chris and Mitch's duplicitous professor, Jerry Hathaway, and Patti D'Arbanville, who had made a splash on screens in 1981 as Chevy Chase's long-suffering girlfriend in Modern Problems. Shooting would begin on Real Genius in Southern California on November 12th, 1984. Most of the film would be shot on sets built at the Hollywood Center Studios, just a few blocks west of the Paramount Studios lot, while several major set pieces, including the memorable finale involving Professor Hathaway's house, a space laser and 190,000 pounds of popcorn, were shot in the then quiet suburban area of Sand Canyon, a few miles east of Magic Mountain, a popular theme park and filming area about 45mins north of Hollywood Center Studios. Outdoor scenes standing in for the Pacific Tech campus would be filmed at Occidental College in Eagle Rock and Pomona College in Claremont, while some scenes would be filmed at General Atomics outside San Diego, standing in for an Air Force base in the film's climax. Shooting on the film would finish after the first of the year, giving Coolidge and her editor, Richard Chew, about seven months to get the film in shape for a planned August 7th, 1985, release. Going in to the Summer 1985 movie season, Real Genius was positioned to be one of the hit films of the summer. They had a hot up and coming star in Val Kilmer, a hot director in Martha Coolidge, and a fairly solid release date in early August. But then, there ended up being an unusual glut of science fiction and sci-fi comedy movies in the marketplace at the same time. In March, Disney released the dinosaur-themed Baby: Secret of the Lost Legend, which was not a good film and bombed pretty bad. In June, there was the artificial intelligence film D.A.R.Y.L., which was not a good film and bombed pretty bad. In July, there was Back to the Future, which was a very good film and became one of the biggest successes of the year, and there was Explorers, Joe Dante's followup to Gremlins, which featured Ethan Hawke and River Phoenix as teenage boys who build their own spacecraft to explore outer space, and although it was one of the best movies released in the summer of 1985, it too bombed pretty bad. But then, in a seven day period in early August, we had Weird Science, which was not very good and not very successful, Real Genius, and My Science Project, another Disney movie about a glowing orb thing from outer space that causes a lot of problems for a lazy high school student looking for something to use for his science class final, which is one of the worst movies of the year, and bombed worse than any of the other movies mentioned. Weird Science, John Hughes' followup to his surprise hit The Breakfast Club, released only six months earlier, would open on August 1st, and come in fourth place with $4.9m from 1158 theatres. In its second weekend of release, Weird Science would lose 40% of its opening weekend audience, coming in fifth with $2.97m. But that would still be better than Real Genius, which opened on Wednesday, August 5th, which would come in sixth in its opening weekend, with $2.56m from 990 locations. My Science Project, opening on August 7th, could only manage to open in 13th place with $1.5m from 1003 theatres. That would be worse than a reissue of E.T. in its fourth weekend of release. In its second weekend, Real Genius would only drop 14% of its opening weekend audience, coming in with $2.2m from 956 locations, but after a third weekend, losing a third of its screens and 46% of its second week audience, Real Genius would be shuttled off to the dollar houses, where it would spend another seventeen weeks before exiting theatres with only $12.95m worth of tickets sold. However, it is my personal opinion is that the film failed to find an audience because it was perceived as being too smart for a simple audience. Real Genius celebrates intelligence. It doesn't pander to its audience. In many ways, it belittles stupidity, especially Mitch's moronic parents. Revenge is dished out in the most ingenious ways, especially at the end with Professor Hathaway's house, to the point where the science behind how Chris and Mitch did what the did is still actively debated thirty-eight years later. Caltech students served as consultants on the film, and played students in the background, while Dr. Martha Gunderson, a physics professor at USC whose vast knowledge about lasers informed the writers during the development stage, played a math professor on screen. Finally, to help promote the film, Martha Coolidge and producer Brian Grazer held the first-ever online press conference through the CompuServe online service, even though there were less than 125,000 on the entire planet who had CompuServe access in August 1985. Today, the film is rightfully regardless as a classic, but it wouldn't make Val Kilmer a star quite yet. That, of course, would happen in 1986, when he co-starred as Tom Cruise's frenemy in Tony Scott's Top Gun. Gabe Jarret would eventually become Gabriel Jarret, appearing in such movies as Karate Kid 3, Apollo 13 and The American President, and he continues to work in movies and on television to this day. Sadly, the same cannot be said for Michelle Meyrink, who would quit acting three years after making Real Genius, but we'll talk about that on our next episode. And, of course, William Atherton would cement his reputation as the chucklenut Gen Xers love to hate when he played the cocky television reporter Dick Thornburg in the first two Die Hard movies. And with that, we come to the end of this episode. Thank you for joining us. We'll talk again next week, when Episode 111, on Coolidge's 1988 comedy Plain Clothes, 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.
MEET TIM TORTORA:Tim Tortora started working in Hollywood over 30 years ago as a tape operator in a recording studio and worked his way up through the ranks to CFO by 2008. He learned a lot along the way and worked with some amazing people and some of the biggest companies ( Harpo Films, Mandalay Entertainment, Sony Pictures, Disney, TriStar Pictures, Columbia Pictures) He did it all having no family connection or friends who sat in key positions in the business.Since he started working as a CFO in 2008, the industry changed substantially and his client list migrated to working with content creators who produce indie features, TV movies, feature films, branded content, blogs, and online short-form series. During his career, Tim has served as Executive in Charge of Production and Finance for Oprah Winfrey's feature film & TV production arm, Harpo Films, in charge of all aspects of production on such films as “Tuesdays With Morrie” (Jack Lemmon, Hank Azaria), “Amy & Isabelle” (Elisabeth Shue), “The Wedding” (Halle Berry), and “Before Women Had Wings” (Ellen Barkin).Contact:www.TimTortora.comBOOK: A Hollywood Accounting: It's a Swamp. It's Thick. Difficult to Navigate. Smells Terrible. But I still Love It!: A Roadmap For How Not To Get Duped in Hollywood SUPPORT THE SHOW BECAUSE I LOVE PUPPIES! Talia di Napoli – PIZZAClick on the title for $6.00 off your order of AMAZING pizza shipped fresh from NapoliBUY MY BOOK BECAUSE IT'S AMAZING!!!BE LEFT BEHIND: Discover Bitcoin and Cryptocurrency Before Your Grandma Beats You to Ityuricataldo.comCREDITS:Our theme music is written and mixed by Chicago-based composer, engineer, and multi-instrumentalist Ryan Black of the Black's Backbone collaborative. And produced by REB Records.This podcast uses the following third-party services for analysis: Podcorn - https://podcorn.com/privacy
Hollywood producer Kevin Misher worked his way up from the mail room to Creative Executive at Tri-Star Pictures, to president of production at Universal Pictures, to created his own production company, Misher Films. Over the decades of his career he has over seen projects such as Erin Brockovich, The Mummy, Meet the Parents, The Fast and the Furious, and The Bourne Identity. Misher Films has been responsible for The Scorpion King, The Rundown, The Interpreter, Public Enemies, and more recently producing the brilliant Fighting with My Family. Tom Hanks vehicle Finch, and bringing Eddie Murphy back onto the screen with Coming 2 America and Netflix's You People. We chat about chat about his journey to success, how to land your script on his desk and his most embarrassing moment when he was held up at gun point. In celebration of the Super Bowl this weekend Kevin's latest project “American Football,” is a new eight-episode series that explores the rough-and-tumble origins of America's most popular sport. - Host - Actor/Writer Elliot James Langridge (Scott Marshall Partners) - American Football is available on Audible now - Thank you to our guest Kevin and thank you to 42West, - If you enjoyed this episode, please review and follow us on Spotify, Apple Podcasts and You Tube etc and please share. It makes a huge difference. Join us on Twitter, Tik Tok, Instagram, @LIFEINFILMpod & For early and uncut episodes check of the Patreon at patreon.com/Lifeinfilmpodcast #kevinMisher #lifeinfilmpodcast #elliotjameslangridge #foryou #fyp #film #podcast #mostembarrassingmoment --- Send in a voice message: https://anchor.fm/life-in-film-podcast/message
CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, grief, trauma, loss, catatonia, mental illness, delusion, guilt, shame, AIDS, homelessness, misogyny, depression. This week we're discussing a film that's one of the most beautiful messes you'll ever see. Beautiful, because it revels in medieval mythology while telling a story of redemption in our modern lives. Messy, because our director didn't seem to care about creating a consistent, thorough world for his characters to live in. It's a movie that doesn't hold up as well on deeper scrutiny, and yet also hits you right in the heart with a truly lovely story and incredibly strong performances from some of the best actors in the business. If only Terry Gilliam had reigned himself in just a little bit, this would have been absolutely perfect. Grab your armor and weapons from the scrap heap as we watch The Fisher King on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “How About You (Swing Version)” from the soundtrack to the motion picture The Fisher King, written by Burton Lane and arranged by George Fenton. Copyright 1991 Tri-Star Pictures, Inc.; MCA Records, Inc. Excerpts taken from the film The Fisher King, © 1991 TriStar Pictures, Inc. All Rights Reserved. Excerpt taken from “Max” from the soundtrack to the motion picture Cape Fear. Written and composed by Bernard Hermann, and arranged and composed by George Fenton. Copyright 1991 Universal City Studios, Inc. and Amblin Entertainment, Inc.; MCA Records, Inc.
On this, our 100th episode, we eschew any silly self-congratulatory show to get right into one of James Cameron's most under appreciated films, his 1989 anti-nuke allegory The Abyss. ----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. We're finally here. Episode 100. In the word of the immortal Owen Wilson, wow. But rather than throw myself a celebratory show basking in my own modesty, we're just going to get right into another episode. And this week's featured film is one of my favorites of the decade. A film that should have been a hit, that still informs the work of its director more than thirty years later. But, as always, a little backstory. As I quite regularly say on this show, I often do not know what I'm going to be talking about on the next episode as I put the finishing touches on the last one. And once again, this was the case when I completed the show last week, on Escape to Victory, although for a change, I finished the episode a day earlier than I usually do, so that would give me more time to think about what would be next. Thursday, Friday, Saturday. All gone. Still have no clue what I'm going to write about. Sunday arrives, and my wife and I decide to go see Avatar: The Way of Water in 3D at our local IMAX theatre. I was hesitant to see the film, because the first one literally broke my brain in 2009, and I'm still not 100% sure I fully recovered. It didn't break my brain because it was some kind of staggering work of heartbreaking genius, but because the friend who thought he was being kind by buying me a ticket to see it at a different local IMAX theatre misread the seating chart for the theatre and got me a ticket in the very front row of the theatre. Now, I don't know if you've ever seen a movie in IMAX 3D, but that first row is not the most advantageous place to watch an IMAX movie in 3D. But because the theatre was otherwise sold out, I sat there, watching Avatar in 3D from the worst possible seat in the house, and I could not think straight for a week. I actually called off work for a few days, which was easy to do considering I was the boss at my theatre, but I have definitely seen a cognitive decline since I saw Avatar in IMAX 3D in the worst possible conditions. I've never felt the need to see it again, and I was fine not seeing the new one. But my wife wanted to see it, and we had discount tickets to the theatre, so off we went. Thankfully, this time, I chose the seats for myself, and got us some very good seats in a not very crowded theatre, nearly in the spot that would be the ideal viewing position for that specific theatre. And I actually enjoyed the movie. There are very few filmmakers who can tell a story like James Cameron, and there are even fewer who could get away with pushing a pro-conservation, pro-liberal, pro-environment agenda on an unsuspecting populace who would otherwise never go for such a thing. But as I was watching it, two things hit me. One, I hate high frame rate movies. Especially when the overall look of the movie was changing between obviously shot on video and mimicking the feel of film so much, it felt like a three year old got ahold of the TV remote and was constantly pushing the button that turned motion smoothing off and on and off and on and off and on, over and over and over again, for three and a half hours. Two, I couldn't also help but notice how many moments and motifs Cameron was seemingly borrowing from his under-appreciated 1989 movie The Abyss. And there it was. The topic for our 100th episode. The Abyss. And, as always, before we get to the movie itself, some more background. James Francis Cameron was born in 1954 in small town in the middle eastern part of the Ontario province of Canada, about a nine hour drive north of Toronto, a town so small that it wouldn't even get its first television station until 1971, the year his family would to Brea, California. After he graduated from high school in 1973, Cameron would attend Fullerton College in Orange County, where would initially study physics before switching to English a year later. He'd leave school in 1974 and work various jobs including as a truck driver and a janitor, while writing screenplays in his spare time, when he wasn't in a library learning about movie special effects. Like many, many people in 1977, including myself, Star Wars would change his life. After seeing the movie, Cameron quit his job as a truck driver and decided he was going to break into the film industry by any means necessary. If you've ever followed James Cameron's career, you've no doubt heard him say on more than one occasion that if you want to be a filmmaker, to just do it. Pick up a camera and start shooting something. And that's exactly what he did, not a year later. In 1978, he would co-write, co-produce, co-direct and do the production design for a 12 minute sci-fi short called Xenogenesis. Produced at a cost of $20,000 raised from a dentist and starring his future T2 co-writer William Wisher, Xenogenesis would show just how creative Cameron could be when it came to making something with a low budget look like it cost far more to produce. There's a not very good transfer of the short available on YouTube, which I will link to in the transcript for this episode on our website, at The80sMoviePodcast.com (). But it's interesting to watch because you can already see themes that Cameron will revisit time and time again are already fully formed in the storyteller's mind. Once the short was completed, Cameron screened it for the dentist, who hated it and demanded his money back. But the short would come to the attention of Roger Corman, The Pope of Pop Cinema, who would hire Cameron to work on several of his company's upcoming feature films. After working as a production assistant on Rock 'n' Roll High School, Cameron would move up becoming the art director on Battle Beyond the Stars, which at the time, at a cost of $2m, would be the most expensive movie Corman would have produced in his then-26 year career, as the production designer on Galaxy of Terror, and help to design the title character for Aaron Lipstadt's Android. Cameron would branch out from Corman to work on the special effects for John Carpenter's Escape from New York, but Corman would bring Cameron back into the fold with the promise of running the special effects department for the sequel to Joe Dante's surprise 1978 hit Piranha. But the film's original director, Miller Drake, would leave the production due to continued differences with the Italian producer, and Cameron would be moved into the director's chair. But like Drake, Cameron would struggle with the producer to get the film completed, and would eventually disavow the film as something he doesn't consider to be his actual work as a director. And while the film would not be any kind of success by any conceivable measure, as a work of storytelling or as a critical or financial success, it would give him two things that would help him in his near future. The first thing was an association with character actor Lance Henriksen, who would go on to be a featured actor in Cameron's next two films. The second thing would be a dream he would have while finishing the film in Rome. Tired of being in Italy to finish the film, and sick with a high grade fever, Cameron would have a nightmare about an invincible cyborg hit-man from the future who had been sent to assassinate him. Sound familiar? We've already discussed how The Terminator came to be in our April 2020 episode on Hemdale Films, so we'll skip over that here. Suffice it to say that the film was a global success, turning Arnold Schwarzenegger into a beloved action star, and giving Cameron the clout to move on to ever bigger films. That even bigger film was, of course, the 1986 blockbuster Aliens, which would not only become Cameron's second big global box office success, but would be nominated for seven Academy Awards, including a well deserved acting nomination for Sigourney Weaver, which came as a surprise to many at the time because actors in what are perceived to be horror, action and/or sci-fi movies usually don't get such an accolade. After the success of Aliens, Twentieth Century-Fox would engage Cameron and his producing partner, Gale Anne Hurd, who during the making of Aliens would become his second wife, on a risky project. The Abyss. Cameron had first come up with the idea for The Abyss while he was still a student in high school, inspired by a science lecture he attended that featured Francis J. Falejczyk, the first human to breathe fluid through his lungs in experiments held at Duke University. Cameron's story would involve a group of underwater scientists who accidentally discover aliens living at the bottom of the ocean floor near their lab. Shortly after he wrote his initial draft of the story, it would be filed away and forgotten about for more than a decade. While in England shooting Aliens, Cameron and Hurd would watch a National Geographic documentary about remote operated vehicles operating deep in the North Atlantic Ocean, and Cameron would be reminded of his old story. When the returned to the United States once the film was complete, Cameron would turn his short story into a screenplay, changing the main characters from scientists to oil-rig workers, feeling audiences would be able to better connect to blue collar workers than white collar eggheads, and once Cameron's first draft of the screenplay was complete, the couple agreed it would be their next film. Cameron and Hurd would start the complex process of pre-production in the early days of 1988. Not only would they need to need to find a place large enough where they could film the underwater sequences in a controlled environment with life-size sets under real water, they would need to spend time designing and building a number of state of the art camera rigs and costumes that would work for the project and be able to capture the actors doing their craft in the water and keep them alive during filming, as well as a communications system that would not only allow Cameron to talk to his actors, but also allow the dialogue to be recorded live underwater for the first time in cinema history. After considering filming in the Bahamas and in Malta, the later near the sets constructed for Robert Altman's Popeye movie nearly a decade before, Cameron and Hurd would find their perfect shooting location outside Gaffney, South Carolina: an uncompleted and abandoned $700m nuclear power plant that had been purchased by local independent filmmaker Earl Owensby, who we profiled to a certain degree in our May 2022 episode about the 3D Movie craze of the early 1980s. In what was supposed to be the power plant's primary reactor containment vessel, 55 feet deep and with a 209 foot circumference, the main set of the Deepcore rig would be built. That tank would hold seven and a half million gallons of water, and after the set was built, would take five days to completely fill. Next to the main tank was a secondary tank, an unused turbine pit that could hold two and a half million gallons of water, where most of the quote unquote exteriors not involving the Deepcore rig would be shot. I'm going to sidetrack for a moment to demonstrate just how powerful a force James Cameron already was in Hollywood by the end of 1987. When word about The Abyss was announced in the Hollywood trade papers, both MGM and Tri-Star Pictures started developing their own underwater action/sci-fi films, in the hopes that they could beat The Abyss to theatres, even if there was scant information about The Abyss announced at the time. Friday the 13th director Sean S. Cunningham's DeepStar Six would arrive in theatres first, in January 1989, while Rambo: First Blood Part Two director George P. Cosmastos' Leviathan would arrive in March 1989. Like The Abyss, both films would feature deep-sea colonies, but unlike The Abyss, both featured those underwater workers being terrorized by an evil creature. Because if you're trying to copy the secret underwater action/sci-fi movie from the director of The Terminator and Aliens, he's most definitely going to do evil underwater creatures and not peace-loving aliens who don't want to hurt humanity. Right? Suffice it to say, neither DeepStar Six or Leviathan made any kind of impact at the box office or with critics. DeepStar Six couldn't even muster up its modest $8.5m budget in ticket sales, while Leviathan would miss making up its $25m budget by more than $10m. Although, ironically, Leviathan would shoot in the Malta water tanks Cameron would reject for The Abyss. Okay. Back to The Abyss. Rather than cast movie stars, Cameron would bring in two well-respected actors who were known to audiences but not really that famous. For the leading role of Bud Brigman, the foreman for the underwater Deepcore rig, Cameron would cast Ed Harris, best known at the time for playing John Glenn in The Right Stuff, while Mary Elizabeth Mastrantonio would be recognizable to some for playing Tom Cruise's girlfriend in The Color of Money, for which she was nominated for an Academy Award for Best Supporting Actress. Other actors would include Michael Biehn, Cameron's co-star from The Terminator and Aliens, Leo Burmester, who had been featured in Broadcast News and The Last Temptation of Christ, Todd Graff, who had starred in Tony Bill's Five Corners alongside Jodie Foster and John Turturro, character actor John Bedford Lloyd, Late Night with David Letterman featured actor Chris Elliott in a rare non-comedy role, and Ken Jenkins, who would become best known as Doctor Kelso on Scrubs years down the road who had only made two movies before this point of his career. More than two millions dollars would be spent creating the underwater sets for the film while Cameron, his actors and several major members of the crew including cinematographer Mikael Salomon, spent a week in the Cayman Islands, training for underwater diving, as nearly half of the movie would be shot underwater. It was also a good distraction for Cameron himself, as he and Hurd had split up as a couple during the earliest days of pre-production. While they would go through their divorce during the filming of the movie, they would remain professional partners on the film, and do their best to not allow their private lives to seep into the production any more than it already had in the script. Production on The Abyss would begin on August 15th, 1988, and would be amongst the toughest shoots for pretty much everyone involved. The film would endure a number of technical mishaps, some due to poorly built supports, some due to force majeure, literal Acts of God, that would push the film's production schedule to nearly six months in length and its budget from $36m to $42m, and would cause emotional breakdowns from its director on down. Mastrantonio would, during the shooting of the Lindsey resuscitation scene, stormed off the set when the camera ran out of film during the fifteenth take, when she was laying on the floor of the rig, wet, partially naked and somewhat bruised from being slapped around by Harris during the scene. “We are not animals!” she would scream at Cameron as she left. Harris would have to continue shooting the scene, yelling at nothing on the ground while trying to save the life of his character's estranged wife. On his way back to his hotel room after finishing that scene, Harris would have to pull over to the side of the road because he couldn't stop crying. Biehn, who had already made a couple movies with the meticulous director, noted that he spent five months in Gaffney, but maybe only worked three or four weeks during that entire time. He would note that, during the filming of one of his scenes underwater, the lights went out. He was thirty feet underwater. It was so dark he couldn't see his own hand in front of him, and he genuinely wondered right then and there if this was how he was going to die. Harris was so frustrated with Cameron by the end of the shoot that he threatened to not do any promotion for the film when it was released into theatres, although by the time that happened, he would be making the rounds with the press. After 140 days of principal photography, and a lawsuit Owensby filed against the production that tried to kick them out of his studio for damaging one of the water tanks, the film would finally finish shooting on December 8th, by which time, Fox had already produced and released a teaser trailer for the movie which featured absolutely no footage from the film. Why? Because they had gotten word that Warners was about to release their first teaser trailer for their big movie for 1989, Tim Burton's Batman, and Fox didn't want their big movie for 1989 to be left in the dust. Thirty-four years later, I still remember the day we got both trailers in, because they both arrived at my then theatre, the 41st Avenue Playhouse in Capitola, Calfornia, within five minutes of each other. For the record, The Abyss did arrive first. It was the Tuesday before Thanksgiving, the day before we opened the Bill Murray comedy Scrooged, and both Fox and Warners wanted theatres to play their movie's trailer, but not the other movie's trailer, in front of the film. I programmed both of them anyway, with Batman playing before The Abyss, which would be the last trailer before the film, because I was a bigger Cameron fan than Burton. And as cool as the trailer for Batman was, the trailer for The Abyss was mind-blowing, even if it had no footage from the film. I'll provide a link to that first Abyss teaser trailer on the website as well. But I digress. While Cameron worked on editing the film in Los Angeles, two major teams were working on the film's effects. The artists from Dreamquest Images would complete eighty effects shots for the film, including filming a seventy-five foot long miniature submarine being tossed around through a storm, while Industrial Lights and Magic pushed the envelope for computer graphics, digitally creating a water tentacle manipulated by the aliens that would mimic both Bud and Lindsey in an attempt to communicate with the humans. It would take ILM six months to create the minute and fifteen second long sequence. Originally slated to be released in time for the Fourth of July holiday weekend, one of the busiest and most important weekends of the year for theatres, The Abyss would be held back until August 9th, 1989, due to some effects work not being completed in time, and for Cameron to rework the ending, which test audiences were not too fond of. We'll get back to that in a moment. When The Abyss opened in 1533 theatres, it would open to second place that weekend with $9.3m, only $350k behind the Ron Howard family dramedy Parenthood. The reviews from critics was uniformly outstanding, with many praising the acting and the groundbreaking special effects, while some would lament on the rather abrupt ending of the storyline. We'll get back to that in a moment. In its second week, The Abyss would fall to third place, its $7.2m haul behind Parenthood again, at $7.6m, as well as Uncle Buck, which would gross $8.8m. The film would continue to play in theatres for several weeks, never losing more than 34% of its audience in any given week, until Fox abruptly stopped tracking the film after nine weeks and $54.2m in ticket sales. By the time the film came out, I was managing a dollar house in San Jose, a point I know I have mentioned a number of times and even did an episode about in September 2021, but I can tell you that we did pretty good business for The Abyss when we got the film in October 1989, and I would hang on to the film until just before Christmas, not because the film was no longer doing any business but because, as I mentioned on that episode, I wanted to play more family friendly films for the holidays, since part of my pay was tied to my concessions sales, and I wanted to make a lot of money then, so I could buy my girlfriend of nearly a year, Tracy, a nice gift for Christmas. Impress her dad, who really didn't like me too much. The film would go on to be nominated for four Academy Awards, including for Mikael Salomon's superb cinematography, winning for its special effects, and would enjoy a small cult following on home video… until shortly after the release of Cameron's next film, Terminator 2. Rumors would start to circulate that Cameron's original cut of The Abyss was nearly a half-hour longer than the one released into theatres, and that he was supposedly working on a director's cut of some kind. The rumor was finally proven true when a provision in James Cameron's $500m, five year financing deal between Fox and the director's new production company, Lightstorm Entertainment, included a $500k allotment for Cameron to complete his director's cut. Thanks to the advancements in computer graphics between 1989 and 1991, Industrial Lights and Magic was able to apply what they created for T2 into the never fully completed tidal wave sequence that was supposed to end the movie. Overall, what was now being called The Abyss: Special Edition would see its run time expanded by 28 minutes, and Cameron's anti-nuke allegory would finally be fully fleshed out. The Special Edition would open at the Loews Village VII in New York City and the Century Plaza Cinemas in Century City, literally down the street from the Fox lot, on land that used to be part of the Fox lot, on February 26th, 1993. Unsurprisingly, the critical consensus for the expanded film was even better, with critics noting the film's story scope had been considerably broadened. The film would do fairly well for a four year old film only opening on two screens, earning $21k, good enough for Fox to expand the footprint of the film into more major markets. After eight weeks in only a total of twelve theatres, the updated film would finish its second run in theatres with more than $238k in ticket sales. I love both versions of The Abyss, although, like with Aliens and Cameron Crowe's untitled version of Almost Famous, I prefer the longer, Special Edition cut. Harris and Mastrantonio gave two of the best performances of 1989 in the film. For me, it solidified what I already knew about Harris, that he was one of the best actors of his generation. I had seen Mastrantonio as Tony Montana's sister in Scarface and in The Color of Money, but what she did on screen in The Abyss, it still puzzles me to this day how she didn't have a much stronger career. Did you know her last feature film was The Perfect Storm, with George Clooney and Mark Wahlberg, 23 years ago? Not that she stopped working. She's had main or recurring roles on a number of television shows since then, including Law and Order: Criminal Intent, Blindspot and The Punisher, but it feels like she should have had a bigger and better career in movies. Cameron, of course, would become The King of the World. Terminator 2, True Lies, Titanic, and his two Avatar movies to date were all global box office hits. His eight feature films have grossed over $8b worldwide to date, and have been nominated for 45 Academy Awards, winning 21. There's a saying amongst Hollywood watchers. Never bet against James Cameron. Personally, I wish I could have not bet against James Cameron more often. Since the release of The Abyss in 1989, Cameron has only made five dramatic narratives, taking twelve years off between Titanic and Avatar, and another thirteen years off between Avatar and Avatar 2. And while he was partially busy with two documentaries about life under water, Ghosts of the Abyss and Aliens of the Deep, it seems that there were other stories he could have told while he was waiting for technology to catch up to his vision of how he wanted to make the Avatar movies. Another action film with Arnold Schwarzenegger. An unexpected foray into romantic comedy. The adaptation of Taylor Stevens' The Informationalist that Cameron has been threatening to make for more than a decade. The adaptation of Charles Pelligrino's The Last Train from Hiroshima he was going to make after the first Avatar. Anything. Filmmakers only have so many films in them, and Cameron has only made eight films in nearly forty years. I'm greedy. I want more from him, and not just more Avatar movies. In the years after its initial release, both Ed Harris and Mary Elizabeth Mastrantonio have refused to talk about the film with interviewers and at audience Q&As for other movies. The last time Harris has ever mentioned The Abyss was more than twenty years ago, when he said he was never going to talk about the film again after stating "Asking me how I was treated on The Abyss is like asking a soldier how he was treated in Vietnam.” For her part, Mastrantonio would only say "The Abyss was a lot of things. Fun to make was not one of them.” It bothers me that so many people involved in the making of a film I love so dearly were emotionally scarred by the making of it. It's hard not to notice that none of the actors in The Abyss, including the star of his first three films, Michael Biehn, never worked with Cameron again. That he couldn't work with Gale Anne Hurd again outside of a contractual obligation on T2. My final thought for today is that I hope that we'll someday finally get The Abyss, be it the theatrical version or the Special Edition but preferably both, in 4K Ultra HD. It's been promised for years. It's apparently been completed for years. Cameron says it was up to Fox, now Disney, to get it out. Fox, now Disney, says they've been waiting for Cameron to sign off on it. During a recent press tour for Avatar: The Way of Water, Cameron said everything is done and that a 4K UHD Blu-ray should be released no later than March of this year, but we'll see. That's just a little more than a month from the time I publish this episode, and there have been no official announcements from Disney Home Video about a new release of the film, which has never been available on Blu-ray after 15 years of the format's existence, and has been out of print on DVD for almost as long. So there it is. Our 100th episode. I thank you for finding the show, listening to the show, and sticking with the show. We'll talk again soon. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about James Cameron, The Abyss, and the other 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.
CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of murder, alcohol, drinking, racism, antisemitism, fascism, Nazis, gunshots. We continue our Oscars ‘91 series this week with yet another dark movie about Hollywood. Though this version has a twist: it's the Coen brothers, and they're making things incredibly weird, as they're known to do. For a movie written about writer's block by two writers dealing with writer's block, it happens to be a fairly decent movie. It's just that the Coens hadn't struck that balance of digging up obscure references and making them instantly relatable. John Turturro and John Goodman give truly incredibly performances, but the Coens seem to have internalized the story a bit too much. Roll in some paper and get to typing as we watch Barton Fink on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from “Fade Out - The End” from the soundtrack to the motion picture Barton Fink, composed by Carter Burwell. Copyright 1991, 1996 TVT Records. Excerpts taken from the film Barton Fink, © 1991 Circle Films, Inc. Excerpt taken from “The Red Knight Suite” from the soundtrack to the motion picture The Fisher King, composed by George Fenton. Copyright 1991 Tri-Star Pictures, Inc.; MCA Records, Inc.
This weeks special guest Big Court The Last Dragon (sometimes listed as Berry Gordy's The Last Dragon) is a 1985 American martial arts comedy film produced by Rupert Hitzig for Berry Gordy and directed by Michael Schultz.[4] The film stars Taimak, Vanity, Julius Carry, Christopher Murney, Keshia Knight Pulliam, and Faith Prince. Choreography was created by Lester Wilson and Lawrence Leritz. The Last Dragon was released in theaters by TriStar Pictures on March 22, 1985. The film was a financial success despite a mixed reception by critics, and is considered a cult classic. In New York City, Leroy Green (also known as "Bruce Leeroy") has dreams of becoming a great martial artist like his idol Bruce Lee. His master explains that he has reached the final level of martial arts accomplishment known as "The Last Dragon." Martial artists who reach this final level are said to be able to concentrate such mystical energy into their hands that they begin to glow. Only a true martial arts master would be able to exhibit "The Glow" over his entire body. Leroy doesn't fully understand and, in possession of a medal supposedly belonging to Bruce Lee, Leroy embarks upon a spiritual journey to find Master Sum Dum Goy, whom his master claims can help Leroy unlock the power of "The Glow."BlackBusters is a podcast focused on reviewing, celebrating, re-living and critiquing Black film. From the movies we all know and love to those hidden gems, there is no movie too big or small to be praised or roasted. Join our hosts Director/Comedian/Actor @biggjah and movie/podcast connoisseur Tony Price as they explore the legacy, impact and influence of Black cinema.
Tim Tortora started working in Hollywood over 30 years ago as a tape operator in a recording studio and worked his way up through the ranks to CFO by 2008. He learned a lot along the way and worked with some amazing people and some of the biggest companies ( Harpo Films, Mandalay Entertainment, Sony Pictures, Disney, TriStar Pictures, Columbia Pictures). He did it all having no family connection or friends who sat in key positions in the business. Since he started working as a CFO in 2008, the industry changed substantially and his client list migrated to working with content creators who produce indie features, TV movies, feature films, branded content, blogs and online short form series. During his career, Tim has served as Executive in Charge of Production and Finance for Oprah Winfrey's feature film & TV production arm, Harpo Films, in charge of all aspects of production on such films as “Tuesdays With Morrie” (Jack Lemmon, Hank Azaria), “Amy & Isabelle” (Elisabeth Shue), “The Wedding” (Halle Berry), and “Before Women Had Wings” (Ellen Barkin). = = = = = Connect with Tim Tortora on his website: https://timtortora.com/ Get Tim's book: https://timtortora.com/a_hollywood_accounting_its_a_swamp_its_thick_difficult_to_navigate_but_i_still_love_it/ = = = = = My latest book, The Far Unlit Unknown -- is available now! Grab your copy here Thanks so much for listening and for your ongoing support of my creative work and this podcast! = = = = = The Team here at PYP has put together another uplifting, insightful, and inspiring show for you today. Our goal is to bring you timely, relevant, and useful conversations so that you can experience more success, energy, and life on your leadership journey. Here are a few ways I can help you: Share this episode with one person who could use a boost of inspiration and positivity today. Bring me in to speak at your next event. Book a free call with me today to discuss that book you finally want to write in the new year.
Hey Friends,"Your death will be a tale to frighten children, to make lovers cling closer in their rapture. Come with me, and be immortal."Brian Adams joins us to watch Bernard Rose's/TriStar Pictures' 1992 horror classic "Candyman" in which Tony Todd cements himself as an icon of horror with a far more impactful first film than most other supernatural slashers. Released:October 16, 1992Featuring: Bob Rudenborg, Jon MarekSpecial Guest: Brian AdamsEditing: Jon MarekTheme: Brian Adams-Winchester Ghosts: https://winchesterghosts.com/Find Us Across the Web: https://www.thebutchandthebi.com/links
Today on the show we have Sundance-winning producer Jonathan Baker. His new film Sylvie's Love is the talk of Sundance 2020. Sylvie's Love is an upcoming American drama film, written and directed by Eugene Ashe. It stars Tessa Thompson, Nnamdi Asomugha, Ryan Michelle Bathe, Regé-Jean Page, Aja Naomi King, and Eva Longoria. It will have its world premiere at the Sundance Film Festival on January 27, 2020.Jonathan is a wealth of information. In the episode, I pick his brain on what it was like winning the audience award at Sundance, how the indie film market place is changing, and much more. His last Sundance-winning film was Crown Heights which was later sold to Amazon Studios.In 1980, police in Brooklyn, N.Y., wrongfully charge Trinidadian immigrant Colin Warner with murder. Convicted for a crime he didn't commit, Colin spends 20 years in prison while his friend Carl King fights for the young man's freedom.He made his directorial debut with the stoner comedy Manifest Destiny Down: Spacetime. Check out the trailer below.In this absurdist satire, an awkward OCD physics genius and a hot ex-Catholic sorority girl wake up after blacking out Halloween night to discover they missed the evacuation of Earth. A mysterious agent pursues the feuding couple as they figure out how to work together to solve the recently entangled multi-verse and ultimately try to save humanity from AI.Here's a bit more info on today's guest.Jonathan Baker (JB) is an independent filmmaker, adjunct professor, and artistic coach. His company JB Productions, Inc. has many partnerships with artists JB develops and produces. He is a member of the Producer's Guild of America.JB worked at Sony Pictures Entertainment, first in television research, then at Screen Gems and TriStar Pictures as Marketing Manager. He marketed over forty major theatrical releases, of which ten films achieved #1 at the box-office status. He Co-Producer the documentaries Fang vs. Fiction (airing on AMC), The Real Exorcist (A & E), and Real Premonitions (A & E). Films of note include Closer (dir. Mike Nichols), Adaptation (dir. Spike Jonze), Big Fish (dir. Tim Burton), Boogeyman (#1 at the box office), Underworld (#1 at the box office), In The Cut (dir. Jane Campion), You Got Served (#1 at the box office), the Resident Evil franchise, and Exorcism of Emily Rose. While at TriStar, Lords of Dogtown (dir. Catherine Hardwicke), Oliver Twist (dir. Roman Polanski), Running with Scissors (dir. Ryan Murphy) and Silent Hill.Johnathan's new film The Banker starring Sam Jackson and Anthony Mackie comes out March 2020 on Apple TV+.Two African American entrepreneurs in the 1950s hire a white man to pose as the head of their company while they posed as a janitor and a chauffeur and ran the business.Enjoy my conversation with Jonathan Baker.
I'm happy to welcome Tim Tortora today, an ex-movie producer and outsource CFO for Hollywood producers. During the past 30 years of his career, he has been involved with influential companies like Harpo Films, Sony Pictures, Disney, TriStar Pictures, and Columbia Pictures. With his expertise, Tim helps writers, directors, actors, producers, and crew of film and TV learn how to network with real Hollywood producers and build their careers. Tim helps young professionals build a strong network of executives and hiring managers within the film and television industry. Learn more about Hollywood from the inside with Tim at https://timtortora.com Get Tim's book, Hollywood Dream Jobs and Hollywood Accounting here https://bit.ly/3WCq3yL Get a copy of Dave Menz's Case Study Learn how he grew his laundromat business and the exact breakdown steps you can implement today at no cost to you! https://99entrepreneurstrong.com Support our podcast If you're a fan of the show, there are three simple things you can do to support our work: Subscribe, rate and review: https://podcasts.apple.com/us/podcast/pass-the-secret-sauce-by-matt-shields/id1506940483 the podcast on iTunes or wherever you subscribe. Tell a family member, friend, or colleague about the show. Subscribe to us on YouTube: https://www.youtube.com/channel/UCJ5eItxsGWyGKC91zd1pzbA and follow us on LinkedIn: https://www.linkedin.com/company/pass-the-secret-sauce-podcast This podcast is hosted by ZenCast.fm
CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of slavery, racism, flogging and whipping, war, death, violent death, Civil War, Confederacy, white savior tropes. Our next history lesson comes from the Civil War, told through the perspective of one of the first black regiments to fight against the Confederacy. And as far as history movies go, this one actually manages to do a great job of capturing the nature, if not all the details, of the subject it's portraying. More importantly, though, a then-new Edward Zwick took helm of a story that hadn't been told on screen - that of the black men, free and former slaves, who took up arms to fight against the South in the hopes of freedom. And both he and screenwriter Kevin Jarre do it in such a thoughtful, earnest way, that even when the movie falls into cliches, it's only because the history and the story are that powerful. At its core, this is a movie about men in war, living complex lives with complex histories, and coming together, in one horrible yet powerful moment, to fight for a common cause. And that message resonates no matter who's watching this film. Load your rifles as fast as you can as we continue our History Lessons series with 1989's Glory on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Closing Credits" from the original motion picture soundtrack to the film Glory, conducted and composed by James Horner. © 1989 Tri-Star Pictures, Inc. Excerpt taken from the film Glory is © 1989 TriStar Pictures, Inc. All Rights Reserved. Excerpt taken from the film All Quiet on the Western Front is © 1930 Universal Pictures Corporation. Renewed 1958 Universal Pictures Company, Inc. All Rights Reserved.
CLICK TO SUBSCRIBE ON YOUR FAVORITE PODCATCHER CONTENT WARNING: Discussion of royal incest, religious zeal, religion, Catholicism, execution, scatological references. We're starting a new series of historical films with one of the classics of the genre, long revered as one of the gold standards of historical cinema. Though, to be quite honest, this would be better served as historical fiction, and even then it's pretty boring. Everything that happens in this movie did happen, to some extent, in real life, but trying to spin a 16th century religious zealot as a paragon of individual morality is one heck of a choice. In fact, it's even more misguided than you think, because the man on which this story rests happened to be defending the Catholic Church against the monarchy which was, checking our notes, oh, the popular opinion of the time. The only thing that saves this movie is some outstanding quips and its impeccable performances, which somehow make a mind-numbingly boring story watchable. It's just a shame our writer couldn't give them more to work with. Hold on tight to the golden chain as we start our History Lessons series with 1966's A Man for All Seasons on Macintosh & Maud Haven't Seen What?! You can email us with feedback at macintoshandmaud@gmail.com, or you can connect with us on Instagram, Twitter and Facebook. Also please subscribe, rate and review the show on your favorite podcatcher, and tell your friends. Intro and outro music taken from the Second Movement of Ludwig von Beethoven's 9th Symphony. Licensed under an Attribution-NonCommercial-NoDerivs 3.0 Hong Kong (CC BY-NC-ND 3.0 HK) license. To hear the full performance or get more information, visit the song page at the Internet Archive. Excerpt taken from "Rondeau from Suite de Symphonies," composed by Jean-Joseph Mouret and performed by the English Chamber Orchestra. Copyright SME (on behalf of SMCMG), Public Domain Compositions, and 4 Music Rights Societies. Excerpt taken from the film A Man for All Seasons is © 1966 Highland Films, Ltd. All rights reserved. Excerpt taken from "Closing Credits" from the original motion picture soundtrack to the film Glory, conducted and composed by James Horner. © 1989 Tri-Star Pictures, Inc.
On this episode Hollywood Film Director Sean McNamara stops by the show to share his experiences what it's like working with Dennis Quaid and others. He also shares new news about a new exciting project he's embarking on. Sean McNamara is an American director, writer and producer with a focus on family dramas, including the breakout hit feature Soul Surfer. McNamara recently celebrated the 25th anniversary of Brookwell McNamara Entertainment, which he co-founded with business partner David Brookwell. Together, they have produced 30 feature films for Paramount Pictures, Sony Pictures Entertainment, TriStar Pictures, New Line Cinema, Lionsgate and Universal Studios. Currently, McNamara is wrapping up production on the film Reagan, a drama starring Dennis Quaid and Penelope Ann Miller. It follows the life of the former president from childhood through his years in Hollywood, his tenure as governor of California and ultimately his time in the Oval Office. The King's Daughter, a romantic fantasy set at Versailles, will debut in theaters in 2022. It features Pierce Brosnan and Kaya Scodelario. On a Wing and a Prayer, a true story starring Dennis Quaid as a plane passenger forced to make an emergency landing to save his family, is in pre-production for MGM produced by Roma Downey. McNamara produced the TV movie Moonrise for Sony Affirm Originals in July, 2022. McNamara also directed the pilot and multiple episodes of Shadrach on Sony's Pure Flix streaming service. Shadrach is a one-hour drama series that tells value-driven stories tackling the issues of financial and physical hardship, love, loss, family, friendship, and faith. Previously, McNamara has helmed the films Orphan Horse, with Jon Voight; The Miracle Season, starring Erin Moriarty, Danika Yarosh, Helen Hunt and William Hurt; Raise Your Voice, featuring Hilary Duff; Hoovey; Field of Lost Shoes; Race To Space and Spare Parts. The latter, which stars Marisa Tomei and George Lopez, was based on the Wired magazine article “La Vida Robot.” For television, McNamara has produced many series and movies, including more than 500 episodes for Hulu, Netflix, CBS, ABC, Disney Channel, Nickelodeon and Cartoon Network. McNamara co-created the hit TV series Beyond the Break for MTV Networks and was executive producer on Disney Channel's Even Stevens and That's So Raven. McNamara's work for Disney Channel won him a BAFTA as well as five Emmy Award nominations. He is a four-time nominee for the Directors Guild of America Awards. Furthermore, he received a prestigious Best Director Imagen Award, for Spare Parts, and won Best Dramatic Feature at the GI Film Festival, for Field of Lost Shoes. Soul Surfer, Spare Parts, and The Miracle Season all earned an A+ on Cinemascore, among other accolades. McNamara is an actor's director, having worked with A-listers such as Pierce Brosnan and Dennis Quaid as well as numerous Academy Award winners and nominees: Helen Hunt, William Hurt, Jon Voight, Marisa Tomei, Mira Sorvino and James Woods. McNamara has also nurtured rising talents including Shia LaBeouf, Jessica Alba, Erin Moriarty and Danika Yarosh. McNamara lives in Playa del Rey, California, with his amazing family: Christina, Mark, Dylan, Seamus and two Golden Retrievers, Bella and Blue. For more info visit www.SeanMcnamara.com https://www.imdb.com/name/nm0573732/
This week the boys are between a rock and a hard place with 1993's Cliffhanger. Is it a stunning on location action flick or a disgusting looking On set shambles that has the best bits left on the Cutting Room Floor? Join us as we learn about Camping equipment, Free Soloing and what killed Tri-Star Pictures. --- Why not join our Patreon for just a quid a month for bonus episdoes, out-takes and the chance to pick an episode every month. https://www.patreon.com/100thingsfilm --- Cliffhanger is a 1993 American action thriller film[2] directed and co-produced by Renny Harlin and co-written by and starring Sylvester Stallone alongside John Lithgow, Michael Rooker and Janine Turner. Based on a concept by climber John Long, the film follows Gabe (Stallone), a mountain climber who becomes embroiled in a heist of a U.S. Treasury plane flying through the Rocky Mountains. The film premiered at the 1993 Cannes Film Festival, and was released in the United States on May 28, 1993, by TriStar Pictures. It earned $255 million worldwide. --- This week's episode is advertising The Madame's Podcast: Movies without the Mansplaining! http://linktr.ee/themadamespod Planty recommends the Wonder woman 84 episode. for some pretty high blood pressure ranting from Madame Kris! I laughed so hard I nearly crashed the car!
Working her way up from entry level jobs in Hollywood, Elizabeth Cantillon used her love of film and storytelling coupled with her expertise in film theory and criticism to forge a path for herself in the film industry. From secretary to studio executive and producer, Elizabeth learned the levers of power and the power of self advocacy through her climb. Elizabeth serves as principal of Bisous Pictures, a romance label under MRC Film since 2020. She has served as principal of The Cantillon Company which was housed at Sony Pictures. She produced Elizabeth Banks' reboot of Charlie's Angels, starring Kristen Stewart, Naomi Scott and Ella Balinska, released in 2019. She produced the follow up to The Girl with the Dragon Tattoo, Fede Alvarez's The Girl in the Spider's Web, starring The Crown's Claire Foy as Lisbeth Salander. Her first film under her Columbia deal was Concussion starring Will Smith in 2015. The Cantillon Company include the film adaptation of Kristin Hannah's bestsellers, The Nightingale and The Great Alone, for TriStar Pictures. For MGM and Warner Bros, Cantillon is developing Tomb Raider 2 with producer Graham King. Elizabeth previously served as Executive Vice President of Production at Columbia Pictures. During her tenure at Columbia, she oversaw Academy Award winners The Social Network and The Girl with the Dragon Tattoo, the last four installments of the James Bond franchise, Casino Royale, Quantum of Solace, Skyfall and Spectre, as well as Captain Phillips directed by Paul Greengrass, Eat, Pray, Love directed by Ryan Murphy and The Monuments Men directed by George Clooney. Prior to joining Columbia Pictures, she served as Executive Vice President at MGM Studios, where she was responsible for a number of movies, including Be Cool, F. Gary Gray's sequel to Get Shorty, and Carl Franklin's Out of Time, starring Denzel Washington. Elizabeth produced The Banger Sisters for Fox Searchlight, Galaxy Quest for Dreamworks, and co-produced Sunset Park for TriStar Pictures. She graduated from the University of California at Berkeley with a Bachelor of Fine Arts degree in Film Theory & Criticism. Projects in development at Bisous Pictures include film adaptations of the bestselling novels 28 Summers by Elin Hilderbrand, The Return by Nicholas Sparks, The Love Hypothesis by Ali Hazelwood, and You Had Me at Hola by Alexis Daria. Along with the adaptation of bestselling book Photos Of You by Tammy Faye, to be directed by Jenny Gage &Tom Betterton. Elizabeth is also developing original scripts by Pulitzer Prize finalist and playwright Christopher Shinn and James Beard-winning writer Aleksandra Crapanzano. What You Will Hear in This Episode: Elizabeth's personal story Difference between a producer and a studio executive From secretary to Showtime Challenges as a woman in film Work/Life balance Advocating for yourself Equity and Inclusion Self inflicted obstacles Mentorship in the industry Quotes “Advocacy is a big part of being a studio executive.” “It has to be more than just passion. You have to figure out the levers of the power.” “The lessons that I've learned is you have to advocate for yourself. You have to set your own boundaries.” “It's always a reset every day. It's a work in progress every day. Everyday you feel masterful and every day you feel like you fail.” “I think that television as an ecosystem, has many more powerful women in it.” Mentioned: MRC Entertainment https://bonniemarcusleadership.com/ https://web.facebook.com/bonnie.marcus/ https://www.linkedin.com/in/bonniemarcus https://twitter.com/selfpromote https://www.instagram.com/self_promote_/ Gendered Ageism Survey Results Forbes article 5 Tips to own the superpower of your age IAMMusicGroup Purchase my book Not Done Yet on Amazon: If you enjoyed this episode of Badass Women Podcast, then make sure to subscribe to the podcast and drop us a five-star review.
Tim Tortora started working in Hollywood over 30 years ago as a tape operator in a recording studio and worked his way up through the ranks to CFO by 2008. He learned a lot along the way and worked with some amazing people and some of the biggest companies (Harpo Films, Mandalay Entertainment, Sony Pictures, Disney, TriStar Pictures, Columbia Pictures) He did it all having no family connection or friends who sat in key positions in the business. Since he started working as a CFO in 2008, the industry changed substantially and his client list migrated to working with content creators who produce indie features, TV movies, feature films, branded content, blogs and online short form series. During his career, Tim has served as Executive in Charge of Production and Finance for Oprah Winfrey's feature film & TV production arm, Harpo Films, in charge of all aspects of production on such films as “Tuesdays With Morrie” (Jack Lemmon, Hank Azaria), “Amy & Isabelle” (Elisabeth Shue), “The Wedding” (Halle Berry), and “Before Women Had Wings” (Ellen Barkin). Click here to purchase How to Make it in Hollywood: What Writers, Directors, Actors, Producers and Crew Need To Do To Break In. Learn more about your ad choices. Visit megaphone.fm/adchoices
Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1549195416930885632 CW: Suicide, Sexual Assault, Sexual Harassment, Homophobia It's Meta Week on Pod Sematary! Chris & Kelsey are self-referential and silly. Don't think too hard about it. The Classic Film: Gremlins 2: The New Batch (1990) "The Gremlins are back, and this time, they've taken control of a New York City media mogul's high-tech skyscraper” (IMDb.com). Gremlins 2 was a too-late sequel to a pop culture phenomenon that didn't feel like the original at all. But if you can get over that, it sure is a lot of stupid fun. The Modern Film: The Final Girls (2015) "A young woman grieving the loss of her mother, a famous scream queen from the 1980s, finds herself pulled into the world of her mom's most famous movie. Reunited, the women must fight off the film's maniacal killer” (IMDb.com). The Final Girls is a love letter to—not a takedown of—slasher films from the 80s. The logic may not work, but who cares, really? Audio Sources: "Bette Davis Eyes" written by Donna Weiss & Jackie DeShannon and performed by Kim Carnes "Cherry Pie" written by Jani Lane and performed by Warrant "The Final Girls" (2015) produced by Groundswell Productions "Gremlins" produced by Warner Bros. & Amblin Entertainment "Gremlins 2: The New Batch" produced by Warner Bros. & Amblin Entertainment "Hollywood Sequel Doctor" (Key and Peele S05E08) produced by Monkeypaw Productions, et al. "Joker" (2019) produced by Warner Bros., et al. "Looper" (2012) produced by TriStar Pictures, et al. "My Name is Bruce" produced by Dark Horse Entertainment & Image Entertainment "Spaceballs" produced by Brooksfilms & Metro-Goldwyn-Mayer
Get more at podsematary.com! Read our afterthoughts for this episode at https://twitter.com/PodSematary/status/1541216980711067648 CW: Rape, Suicide, Transmisogyny It's Urban Legends Week on Pod Sematary! Chris & Kelsey round out the trilogy in a two-for-one episode to surprising results! The Classic Film: Urban Legends: Final Cut (2000) "A film school is the center of a fresh spate of killings based on urban legends” (IMDb.com). It may not be a great movie, but is Final Cut our favorite UL? Actually... The Modern Film: Urban Legends: Bloody Mary (2005) "...a trio of high school friends chant an incantation, unleashing an evil spirit from the past with deadly consequences” (IMDb.com). While there are one or two things that are moderately cool about this final (for now) installment of the franchise, the fact that we have to say that should tell you everything you need to know. Hard to believe that this is the same director as Pet Sematary and Pet Sematary Two. Audio Sources: "Blossom" produced by Touchstone Television, et al. "Die Hard" produced by Twentieth Century Fox, et al. "Don't Whiz On The Electric Fence!" written and performed by Charlie Brissette, et al. "A Goofy Movie" produced by Walt Disney Pictures, et al. "Half Baked" produced by Robert Simonds Productions & Universal Pictures "Hook" produced by Amblin Entertainment & TriStar Pictures "Labyrinth" produced by The Jim Henson Company, et al. "Pet Sematary" produced by Paramount Pictures & Laurel Productions "Scream" produced by Dimension Films & Woods Entertainment "Urban Legend" produced by Phoenix Pictures, et al. "Urban Legends: Bloody Mary" produced by NPP Productions Inc. & Screen Gems "Urban Legends: Final Cut" produced by Phoenix Pictures, et al. "You Don't Have to Say You Love Me" written by Vicki Wickham, et al., and performed by Dusty Springfield
Tim Tortora is a Hollywood CFO and movie producer with over 30+ years of experience in the financing and physical logistics of filmmaking. Tim has worked for Oprah Winfrey's Harpo Films, Mandalay Entertainment, Sony Pictures, Disney, TriStar Pictures, Columbia Pictures, Lifetime, TNT, & the Hallmark Channel. Since he started working as a CFO in 2008, the industry has changed substantially, and his client list has migrated to working with all kinds of content creators, to include: indie features, TV movies, feature films, branded content, blogs, and online short form series. Tim's new book, entitled, "How to Make it in Hollywood", will show you how to to break into the industry without knowing anyone, and without working for free, and without wasting time with amateurs. You can get his book on his website: https://career.timtortora.comIt was so insightful to talk to Tim and listen to his wealth of knowledge about the business of movie making. It was interesting to hear an insider's viewpoint regarding the entertainment industry, and it was a pleasure having him on A Juicy Pear Podcast! If your feeling lead, you can Buy Me A Coffee on http://www.ajuicypearpodcast.comSupport the show
Check Action, Action here: Instagram Letterboxd Patreon 6.6/10IMDb 70%Rotten Tomatoes 4.1/5Vudu 81% liked this film Google users Jack Benteen (Nick Nolte) is a Texas Ranger who has taken a very different path than his childhood buddy, Cash Bailey (Powers Boothe), a ruthless drug lord. While Benteen and Bailey are on opposites sides of the law, they share a common interest in the lovely Sarita Cisneros (Maria Conchita Alonso),… MOREDescription Release date: April 24, 1987 (USA) Show: Cine Director: Walter Hill Music by: Jerry Goldsmith Story by: John Milius; Fred Rexer Distributed by: Carolco Pictures, TriStar Pictures
The Last Dragon is a 1985 American martial arts comedy film produced by Rupert Hitzig for Berry Gordy and directed by Michael Schultz. The film stars Taimak, Vanity, Julius Carry, Christopher Murney and Faith Prince. The Last Dragon was released in theaters by TriStar Pictures on March 22, 1985. The film was a financial success despite a mixed reception by critics, and is considered a cult classic.We are joined on the episode by our 2019 Guest of the Year @ParanormalPat64 Patrick Solis. Pat had recommended this movie to us years ago and this was his choice for the movie of the month and one of his favorite movies. During the episode we discuss Pat's earliest memories of watching this movie, we discuss our favorite cast members and then do a quick breakdown of some of our favorite scenes from the movie. Click Here to Listen.Subscribe for Free on Apple Podcasts, Spotify, Amazon Music, YouTube, Spreaker, Google Podcasts and everywhere you listen to podcasts!*Thanks for listening! If you like the podcast, please Rate it 5 Stars on Apple Podcasts! Follow us every month for more retro nostalgia filled movie reviews.*Follow us on Instagram @backintimepod Follow us on Twitter @backintimepod Facebook Back in Time Pod YouTube Back in Time Podcast Follow Kyle @kautrey29 Follow JD @unjustjustinWho we are: Back in Time Pod is a unique journey into the depths of the films that defined a generation. Join us in our DeLorean as we examine the year each movie came out, original trailer, box office numbers, critic response, production, and provide a play by play of the story.Oh yeah, we are also really funny!
Today on the show we have legendary film producer Cary Woods. Cary Woods is a film producer best known for producing worldwide blockbusters such as Scream and Godzilla, the beloved independent films Kids, Cop Land, and Gummo, and modern classics like Rudy and Swingers.Woods is also responsible for producing the breakthrough features of such notable directors as James Mangold, Doug Liman, M. Night Shyamalan, Alexander Payne, Harmony Korine, and Larry Clark, as well as the screenwriting debuts of Jon Favreau, Kevin Williamson, and Scott Rosenberg.Woods' filmography features a lineup of A-List actors, including: Robert Downey, Jr., Robert De Niro, Sylvester Stallone, Marisa Tomei, Christopher Walken, Harvey Keitel, Mike Myers, Laura Dern, Heather Graham, Ray Liotta, Burt Reynolds, Drew Barrymore, Matthew Broderick, Courteney Cox, Timothy Hutton, Andy Garcia, Neve Campbell, Sean Astin, Michael Rapaport, Jean Reno, and Steve Buscemi.Born and raised in the Bronx, Woods graduated from the USC Gould School of Law before beginning his career at the William Morris Agency (now WME). As an agent, Woods represented - and in many cases introduced audiences to - the likes of Gus Van Sant, Uma Thurman, Jennifer Connelly, Milla Jovovich, Charlie Sheen, Matt Dillon, Todd Solondz, and most prominently, Gregory Peck.At WMA, Woods also represented many of the industry's most successful stand-up comedians including Sam Kinison, Andrew Dice Clay, Gilbert Gottfried, Sandra Bernhard, Tommy Davidson, and Jackie Mason.After developing the Indie favorites Heathers and Drugstore Cowboy as an agent, Woods accepted a position at Sony Pictures Entertainment (the parent company of Columbia Pictures and TriStar Pictures) as a Vice President - Office of the Chairman, reporting directly to Peter Guber. Woods later segued to a production deal at Sony, resulting in the release of a succession of iconic films, including So I Married An Axe Murderer, Rudy, Only You, and Threesome.After starting his own production company - Independent Pictures - the explosive release of the 1995 cultural phenomenon Kids (starring then-newcomers Rosario Dawson and Chloe Sevigny) began a streak of culturally significant, critically-acclaimed independent films produced by Woods under his banner.The next few years saw the releases of Citizen Ruth (the first film from future two-time Oscar winner Alexander Payne), Beautiful Girls (which introduced American audiences to Natalie Portman), and Swingers (springboarding Vince Vaughn to comedy mega-stardom).His 1996 film Scream (the most successful film of "Master of Horror" Wes Craven's career) marked a turning point for the entire genre, grossing over $170 million and setting a box office record that would stand for 22 years. The film instantly and single-handedly pivoted horror toward postmodernism, spawning a massive billion-dollar franchise (consisting of successful sequels, a TV series, toys, and Halloween costumes), as well as inspiring countless knock-offs in the years since.Gummo - the directorial debut of Kids' screenwriter Harmony Korine - received the FIPRESCI Prize at the 1997 Venice Film Festival. Bernando Bertolucci, the famed director of Last Tango in Paris, praised the film, calling it "The one revolutionary film of the late 20th century."In 1998, the first US-produced entry of the iconic Godzilla film franchise would become Woods' and Independent Pictures' single highest-grossing film, earning nearly $400 million.Woods would go on to serve as co-Chairman, and Chief Creative Officer of Plum TV, in which he was a founding partner. Broadcasting in the nation's most affluent markets (i.e. Aspen, the Hamptons, Miami Beach), the luxury lifestyle network would go on to earn eight Emmy Awards.Enjoy my conversation with Cary Woods.
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