Podcasts about troma films

Gene and cohost Tim Swartz introduce Michael K. Waterman, who explores the magic and mystery of Ancient Egypt, plus the pop culture interest that includes a variety of movies and TV shows. They include the Mummy films, "Stargate" and its three TV spinoffs, and "The Fifth Element." He will also discuss the myths and legends of the presence of Ancient Astronauts. Waterman was born in Brooklyn and raised in Uniondale, New York. He has studied Egyptology for over 50 years and has lectured and taught Ancient Egyptian Religion and Ancient Egyptian Ritual Magick. Waterman worked for Troma Films creating clay models for various movies and is also known as Setna Khamuast — The High Priest and founder of the Per-Ntjeru Temples. And, yes, he also reads hieroglyphics.  This is a guest who will focus on topics that we've seldom explored on The Paracast, and we've got lots of questions about the mysteries of the ancient world.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-paracast-the-gold-standard-of-paranormal-radio--6203433/support.

Sgt Kabuki , The Toxic Avenger. Lloyd Kaufman and Troma Films are known around the world. Author Mathew Klickstein has assembled an international collection of Kaufman interviews that cement his place in Cinema History 

I hope you're ready for another great doubleheader episode, this time beginning with Ahoy Comics' new Toxic Avenger mini-series creators Matt Bors and Fred Harper, then concluding with Danny Hellman from Jacked Tracts, which is crowdfunding on Zoop.gg! The episode starts with my fun interview with writer Matt Bors, returning to the podcast, and first-timer artist Fred Harper. They're bringing a new take on Toxic Avenger, which is being described this way: “It's an all-new 5-issue comic book series starring THE TOXIC AVENGER, the satirical hero of the Troma Films cult classic films. Having already spawned five films, a cartoon, action figures, a musical, and a Marvel comic book series, the Toxic Avenger is a pop culture icon.” We talk about how this new mini-series came to be, who the characters are, and what we can expect from these two creators in the months ahead! The first issue has just been released, so be sure to check with your local comics shop, who can order the books for you if they don't already have a copy in stock! Then everything wraps up with my excellent conversation with Jacked Tracts creator Danny Hellman, who has this current crowdfunding project underway with Zoop.gg. Here's the description: “Jacked Tracts is a spirited satire of those notorious Christian comic tracts that thrilled and traumatized American kids throughout the late 20th Century. Its rollicking re-examination of these comics from a contemporary perspective is sure to delight believers and heathens alike!” Danny discusses how this book came to be, who the characters and creators are, and what else he has coming soon! Be sure to back this already successful crowdfunder before it concludes on Wednesday, October 16, 2024. Show your thanks to Major Spoilers for this episode by becoming a Major Spoilers Patreon member. It will help ensure Wayne's Comics Podcast continues far into the future!

In this episode we look at one of the all classic so bad its good movies from the 1980s - The Toxic Avenger (1984) from the legendary Troma Films!

There are just so many amazing avenues of entertainment to be into these days, it can be hard to keep up. So admittedly, Saint and Jim have the odd blind spot when it comes to certain areas of fandom. One area in which they share somewhat of a collective question mark? Horror movies. So on today's episode of Fuel Your Fandom, the boys welcome Milwaukee's Maven of the Macabre, Katie Kadaver. She's not just a fan of horror films, she walks the walk 24/7. From performing in horror-themed burlesque with Grindhouse Tease, to heading to horror conventions to kick it with Lloyd Kaufman and the crew at Troma Films, to her co-hosting duties on "The VHS Vault" podcast, Katie knows horror like the inside of her eyelids — making her the perfect guest to come onto the show to give the neophytes a crash course in all things creepy. Shove this in your earholes...if you DARE.   

On this episode we sit down with fellow nerd and drummer extraordinaire Bill Jenkins from the Hellgramites! We chat quite a lot about video games, Craigslist and internet scams, laugh tracks, AI, speed runs and game hacks, VR, Final Fantasy and Zelda, the Florida metal scene, how to get your baby to sleep, and Troma Films. It's one HELLGRAMITE of an episode, don't miss it!https://www.hellgrammitesmusic.com

This week, one of our patrons Adam Jures brings us the long-awaited sequel to a trashterpiece of cinema - The Toxic Avenger Part II. The guys talk about Troma Films and their Don Rickles approach to comedy, the Toxic Avenger somehow becoming a CARTOON SERIES FOR CHILDREN, the lack of planning on the part of Apocalypse Inc, the Neil Breen-level evil dialogue and much more. Next week: Some Troma! What We've Been Watching: Lisa Frankenstein "Chernobyl" Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd The Toxic Avenger Part II stars John Altamura, Phoebe Legere, Rick Collins, Lisa Gaye, Rikiya Yasuoka, Myako Katsuragi and Jessica Dublin; directed by Lloyd Kaufman and Michael Herz. Learn more about your ad choices. Visit megaphone.fm/adchoices

A career spanning interview with the King Of The Underground Film Movement, Troma's Lloyd KaufmanThis show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3143082/advertisement

Mat is in the process of editing a new collection of interviewss with The Man behind Troma Films we discuss his career and our favorite Troma movies.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/3143082/advertisement

Dubbed the "Godfather of Punk Rock Comedy" by Chicago Now, JT Habersaat's one-hour special Swamp Beast, snagged the top spot on the comedy charts.  He has also had appearances on Comedy Central, roles in Troma Films including Toxic Avenger 4, and a touring roster featuring icons like Eddie Pepitone and Doug Stanhope, as well as being the driving force behind Austin's Altercation Comedy Festival. Currently, he's channeling his creativity into his third book, an oral history of stand-up comedy.

Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered.That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next.He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977).Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy.Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Sugar Cookies (1973) and Cry Uncle (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture.Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Blood Sucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company.Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute. Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1982), The First Turn-On!! (1983), Stuck on You! (1983)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map.Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2881148/advertisement

Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered. That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next.He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977).Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy. Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Sugar Cookies (1973) and Cry Uncle (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture.Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Blood Sucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company.[presto_player id=154943]Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute.Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1982), The First Turn-On!! (1983), Stuck on You! (1983)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map.Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro)   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.   Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago?   For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt.   That was the logo of the disc's distributor.   Vestron Video.   A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it.   But before we get there, we, as always, must go back a little further back in time.   The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company.   But what to call the company?   It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point.   At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future.   Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling.   The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet.   Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great.   Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night.    For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron.   They were doing pretty good.   And in 1984, Vestron ended up changing the home video industry forever.   When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video.   It would become the second home videotape to sell a million copies, after Star Wars.   Suddenly, Vestron was flush with more cash than it knew what to do with.   In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made.   Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies.   Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build.   But it costs money to build a movie production and theatrical distribution company.   Lots of money.   Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day.   It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution.   Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure.   Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000.   Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside.   And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year.   Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2.   The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner.   The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again.   In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco.   Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross.   Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week.   It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for.   Dirty Dancing.   Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname.   Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle.   But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it.   They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise.   To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special.   Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget.   For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials.   Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny.   Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role.   Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming.   Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released.   After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th.   Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance.   But, to be fair, one important element of the film was still not set.   The music.   Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film.   Vestron would spend another half a million dollars licensing the original recording.    The writer nailed all ten.   But even then, there was still one missing piece of the puzzle.   The closing song.   While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.”   Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version.   The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there.   While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals.   With all the songs added to the movie, audience test scores improved considerably.   RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts.   When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts.   The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds.   But then a funny thing happened…   Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack.   Its second week in theatre would only see the gross drop 6%, and the film would finish in third place.   In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales.   Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better.   When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago.   On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong.   The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988.   Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets.   Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then.   Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola.   The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role.   New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.”   Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck.   But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales.   Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves.   Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo.   The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales.   And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting.   Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot.   One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either.   John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6.   The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres.   Vestron would also release two movies in 1987 through their genre Lightning Pictures label.   The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film.   The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them.   After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run.   While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school.   People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years.   Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was.   Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right?   We'll find out next episode, when we continue the Vestron Pictures story.   Thank you for joining us. We'll talk again next week.   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.

Some of our favorite movies have been released by Troma Films, and this is no exception. Troma's War, 1988, was their biggest budget film to date and was incredibly ambitious. Passengers of a downed airplane outside of Tromaville must fight against an unrelenting force, and see if the will survive.   Join Our Patreon: https://www.patreon.com/garbagedaypodcast   Visit Our Website: www.garbagedaypodcast.com  

Captain Nostalgia sits down with Liam Regan, writer-director of Eating Miss Campbell (https://bit.ly/vgbcampbell). Regan discusses the process of crafting a story around suicide, school shootings, violence in media and more. Plus, Regan recounts the tragedy of losing a crew member and friend to suicide during the production. Eating Miss Campbell is currently making its way around the festival circuit from Troma Films. If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 988. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!This episode of Victims and Villains is written by Matthew Basile. It is produced by Kat Kushin. Help us get mental health resources into schools and get exclusive content at the same time. Click here (http://bit.ly/vavpatreon) to support us today!

Jaws meets Caddyshack as our month-long celebration of horror continues with Blades, a 1989 parody film from Troma Films. Join us as we discuss the attention to detail, the kills, and the general absurdity. Plus, we play a game of Jaws Mad Libs. Find us on Twitter and Instagram @TCTAMPod and on TikTok @theycalledthisamovie.Our theme music was written and performed by Dave Katusa. He can be found on Instagram @dkat_productions.

Leroy Jenkin's of Lroy's World YouTube CHannel joins donnie, Sean, and Danny to talk about upcoming shows on his YouTube channel including FAFO, Making of a YouTube Channel, The Greatest Heist, as well as Troma Films, Haunted Places In Kentucky, upcoming shows (including Sloppy Seconds & Jim Harrelson on Oct 21 8PM @ Mag Bar (2nd & Magnolia in Old Louisville neighborhood, Louisville KY), and more!!! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/sean0493/message

Show Notes Dan and Kris were joined by Aaron Hamel from Ship to Shore Phono Co to talk about how their company gets awesome video game soundtracks on vinyl, his history with Troma Films, and a whole lot more. Useful Links Ship to Shore Phono Co. Support us on Patreon StoneAgeGamer.com Safe at Home Rescue SAG's theme Song “Squared Roots” by Banjo Guy Ollie Social Stuff Join us on Discord! Stone Age Gamer Youtube Twitch Geekade Facebook Stone Age Gamer Facebook Geekade Twitter Stone Age Gamer Twitter Geekade Instagram Stone Age Gamer Instagram YouTube Geekade Contact Us

Screenwriter Stuart Wright talks to filmmaker LIAM REGAN about his new film EATING MISS CAMPBELL Catch the World Premiere at Frightfest 2022 - Ticket information here https://frightfest.nuwebgroup.com/Follow Liam Regan at https://www.instagram.com/refusefilms/Stuart also spoke to Liam about...5 GREAT TROMA FILMSBloodsucking Freaks (1976), directed by Joel M Reed “As a cultural artifact, and as an example of the worst uses of creative energy, however, Bloodsucking Freaks is a must-see. Just remember, if you are offended by it, the joke is on you.” From Classic-horror.com Rob WrigleyCombat Shock (1984) directed by Buddy Giovinazzo Anton Bitel writes on VODZilla - Combat Shock is a downbeat, depressing film, dripping with a persistent pessimism that runs counter to the prevailing Reaganite ideology of the day. For here, instead of conspicuous affluence and yuppieism, we get an alternative view of street-level life on the destitute, desperate margins of Eighties America, comparable to the hell of war itself.Surf Nazis Must Die (1987), directed by Peter Gorge “"Surf Nazis Must Die" is the sort of film Ed Wood might have made if he were active today, except he'd be the only one not in on the joke.” David Lazarus, Salon.comCannibal! The Musical (1993), directed by Trey Parker of South Park fame… Jenn Dlugos of Classic-Horror.com wrote: “I could go on about amateur screen shots, poor cuts, and very obvious continuity issues, but this is a film that you just don't care. And if you do care, it's probably not for you.”Fatty Drives the Bus (1999), directed by Mick Napier Gordon Maples of Misan TROPE y.com wrote “Fatty Drives the Bus” is not a good movie in any conventional sense of the term, but there is some strange enjoyment to be had out of it. You can buy me a cup of coffee & support this independent podcast that I host and produce at https://app.redcircle.com/shows/ae030598-6b83-4001-8a29-5e5dd592ed26/sponsort Please consider leaving a five-star review wherever you get your podcasts if you enjoyed this. It really helps the Britflicks Podcast grow and others to discover it.CreditsIntro/Outro music is Rocking The Stew by Tokyo Dragons (www.instagram.com/slomaxster/)Podcast for www.britflicks.com. Written, produced and hosted by Stuart WrightSupport this podcast at — https://redcircle.com/britflicks-com-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

The Michigan Misfits have been around for years, and their grind is starting to pay off… They have created and refined a style of hip-hop that will either make you wanna chill and get high, or murder everyone in the mosh pit. Their digital catalog is now available on all platforms and they have a very long discography full of gems. Their newest EP “One Bad Joke” and their full length “Whatever” are full of original sounds that you wont hear anywhere in the underground. We also chat about Touring, Troma Films, old recordings, Metal, Jackson City, Alla Xul Elu, Juggalos and more! Support The Michigan Misfits: https://sikmadepro.bandcamp.com/ https://www.youtube.com/c/TheMichiganMisfits https://www.instagram.com/themichiganmisfits/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/christian-michelsen9/support

Another Monday means another amazing episode of Slashers Podcast! Today kicks off our first episode of TromAPRIL!!! That's right, goons, your favorite podcast and your favorite hosts are talking Troma Films all month long. Today we get into Doug's all time favorite film, The Toxic Avenger (1984)! Find out why this film means so much to him, how it's inspired him, and how Jake and Ade literally just discovered that Doug's first short film has a cameo with none other than the Troma man himself, Lloyd Kaufman! Like, what the butt fucking hell, how did none of us know this? The short is titled “Resident Emo” and is apart of an anthology called Treasure Chest of Horrors–which you can find and stream on Tubi. For free. Show Doug's debut film, he made at 16, some love! We all know that Toxie is the Mickey Mouse of Troma, as he rightfully should be. But did you know that Troma Entertainment and Legendary Pictures are set to do a remake, starring Peter Dinklage as Toxie, as well as Elijah Wood, Jacob Tremblay and Kevin Bacon??? We're still unsure as to when this will be released, but we're super fucking excited for it. Finally, at some point, Doug, Jake and Ade realize that without The Toxic Avenger, the three of us may not have come together. Listen in and find out why! Please reach out to us for any and all comments at slasherspod@gmail.com. You can always find us on our social media: Instagram, Twitter, Slasher App: @slasherspod Facebook: /slasherspod Reddit: u/slasherspod https://www.youtube.com/c/slasherspodcast You can find our merch, and links to all our online presence here: linktr.ee/slasherspod Theme song is I wanna Die by Mini Meltdowns. https://open.spotify.com/artist/5ZAk6lUDsaJj8EAhrhzZnhhttps://minimeltdowns.bandcamp.com/ --- Support this podcast: https://anchor.fm/slasherspod/support

Reviews of Morbius, Fantastic Beasts: The Secrets of Dumbledore plus interviews with indie movie legend Lloyd Kaufman of Troma and the filmmakers behind the indie horror film The Yellow Wallpaper, actress Alexandra Loreth and director Kevin Pontuti.

#johnbrennan #thelastdrivein #troma #shudder #amc #joebobbriggs #lloydkaufman #horror #comedy #music #clutch #newyork #ny #longisland #astoria #queens #hellskitchen #nukeemhigh #albania #shakespearesshitstorm #shakespeare #thetempest #cancelculture #bigpharma #michaelherz #independentfilm #cinema #underground #california #hollywood #diy #darcythemailgirl #cwpost #nyu #newyorkuniversity #returntonukeemhigh #museumofthemovingimage #podcast #sgtkabukimannypd #dougsakmann #kabukiman #ratsaladreview #musicislifepodcast #allartisvalid Part 2 of my interview with Mr. John Brennan. John Brennan is one of the most talented people I know. A musician, an actor, a producer, a director, and a writer, John cut his teeth on independent productions with his friends in high school before making his way to CW Post to study film. Making a pilgrimage to California to test his skills at writing, he returned to New York and found his way to the longest running independent film studio - Troma Films. Spearheading their web series “Kabukiman's Cocktail Corner” (starring Doug Sakmann as the titular character), he became involved with the production of their next film “Return to Return to Nuke ‘em High AKA Volume 2.” Now, John is a producer of his own original music as John Brennan and the Bigfeet, a producer on Shudder's “The Last Drive-In with Joe Bob Briggs,” and a producer of the soon to be released Troma movie “#ShakespearesShitstorm” which is making its NYC debut at the Museum of the Moving Image in Astoria, NY on April 8th, 2022 (go to https://www.troma.com for more information). John is one of the most hard working and nicest guys I know. He deserves all of his success, and we're happy to have him on the Music Is Life Podcast. Enjoy part 2 of our interview. For more information on John, please view the following links: Linktree: https://linktr.ee/badtechno Twitter: https://mobile.twitter.com/badtechno Instagram: https://instagram.com/badtechno To purchase official Music Is Life Podcast merchandise from TeePublic.com, use this link: https://www.teepublic.com/t-shirt/24041518-music-is-life-podcast-official-logo?fbclid=IwAR2DMITWW5QtpxOQFBXgnnguy3rEksMGzkmr7WCPVCHgDZp8hu85LJAup40&ref_id=24450 If you want me to review YOUR band or YOUR music, please contact me at LouMavs@MusicIsLifePodcast.com. If you'd like to donate to the podcast, please send via PayPal to MusicIsLifePodcast@gmail.com. Thanks in advance. Channel graphic created by Rocky Baia. To commision him for work, please follow and DM him at https://twitter.com/RockyBaia. Also, check out his merch store at https://ProWrestlingTees.com/RockyBaia.html. Intro/Outro Music - "Lose Control" by The Rebel Medium (Jacalyn Guitard, Ernest Layug, Lou Mavs) Links to social media pages on respective websites. https://MusicIsLifePodcast.com https://linktr.ee/MusicIsLifePodcast https://RatSaladReview.com Music Is Life Podcast with Lou Mavs is produced by Anchor.Fm and distributed through Rat Salad Review Network. All rights reserved; any content not created by me is subject to fair use. --- Send in a voice message: https://anchor.fm/rat-salad-review/message

#johnbrennan #thelastdrivein #troma #shudder #amc #joebobbriggs #lloydkaufman #horror #comedy #music #clutch #newyork #ny #longisland #astoria #queens #hellskitchen #nukeemhigh #albania #shakespearesshitstorm #shakespeare #thetempest #cancelculture #bigpharma #michaelherz #independentfilm #cinema #underground #california #hollywood #diy #darcythemailgirl #cwpost #nyu #newyorkuniversity #returntonukeemhigh #museumofthemovingimage #podcast #sgtkabukimannypd #dougsakmann #kabukiman #ratsaladreview #musicislifepodcast #allartisvalid Part 2 of my interview with Mr. John Brennan. John Brennan is one of the most talented people I know. A musician, an actor, a producer, a director, and a writer, John cut his teeth on independent productions with his friends in high school before making his way to CW Post to study film. Making a pilgrimage to California to test his skills at writing, he returned to New York and found his way to the longest running independent film studio - Troma Films. Spearheading their web series “Kabukiman's Cocktail Corner” (starring Doug Sakmann as the titular character), he became involved with the production of their next film “Return to Return to Nuke ‘em High AKA Volume 2.” Now, John is a producer of his own original music as John Brennan and the Bigfeet, a producer on Shudder's “The Last Drive-In with Joe Bob Briggs,” and a producer of the soon to be released Troma movie “#ShakespearesShitstorm” which is making its NYC debut at the Museum of the Moving Image in Astoria, NY on April 8th, 2022 (go to https://www.troma.com for more information). John is one of the most hard working and nicest guys I know. He deserves all of his success, and we're happy to have him on the Music Is Life Podcast. Enjoy part 2 of our interview. For more information on John, please view the following links: Linktree: https://linktr.ee/badtechno Twitter: https://mobile.twitter.com/badtechno Instagram: https://instagram.com/badtechno To purchase official Music Is Life Podcast merchandise from TeePublic.com, use this link: https://www.teepublic.com/t-shirt/24041518-music-is-life-podcast-official-logo?fbclid=IwAR2DMITWW5QtpxOQFBXgnnguy3rEksMGzkmr7WCPVCHgDZp8hu85LJAup40&ref_id=24450 If you want me to review YOUR band or YOUR music, please contact me at LouMavs@MusicIsLifePodcast.com. If you'd like to donate to the podcast, please send via PayPal to MusicIsLifePodcast@gmail.com. Thanks in advance. Channel graphic created by Rocky Baia. To commision him for work, please follow and DM him at https://twitter.com/RockyBaia. Also, check out his merch store at https://ProWrestlingTees.com/RockyBaia.html. Intro/Outro Music - "Lose Control" by The Rebel Medium (Jacalyn Guitard, Ernest Layug, Lou Mavs) Links to social media pages on respective websites. https://MusicIsLifePodcast.com https://linktr.ee/MusicIsLifePodcast https://RatSaladReview.com Music Is Life Podcast with Lou Mavs is produced by Anchor.Fm and distributed through Rat Salad Review Network. All rights reserved; any content not created by me is subject to fair use. --- Support this podcast: https://anchor.fm/lou-mavs/support

#johnbrennan #thelastdrivein #troma #shudder #amc #joebobbriggs #lloydkaufman #horror #comedy #music #clutch #newyork #ny #longisland #astoria #queens #hellskitchen #nukeemhigh #shakespearesshitstorm #shakespeare #thetempest #cancelculture #bigpharma #michaelherz #independentfilm #cinema #underground #california #hollywood #diy #darcythemailgirl #cwpost #nyu #newyorkuniversity #returntonukeemhigh #museumofthemovingimage #podcast #sgtkabukimannypd #dougsakmann #kabukiman #ratsaladreview #musicislifepodcast #allartisvalid John Brennan is one of the most talented people I know. A musician, an actor, a producer, a director, and a writer, John cut his teeth on independent productions with his friends in high school before making his way to CW Post to study film. Making a pilgrimage to California to test his skills at writing, he returned to New York and found his way to the longest running independent film studio - Troma Films. Spearheading their web series “Kabukiman's Cocktail Corner” (starring Doug Sakmann as the titular character), he became involved with the production of their next film “Return to Return to Nuke ‘em High AKA Volume 2.” Now, John is a producer of his own original music as John Brennan and the Bigfeet, a producer on Shudder's “The Last Drive-In with Joe Bob Briggs,” and a producer of the soon to be released Troma movie “#ShakespearesShitstorm” which is making its NYC debut at the Museum of the Moving Image in Astoria, NY on April 8th, 2022 (go to https://www.troma.com for more information). John is one of the most hard working and nicest guys I know. He deserves all of his success, and we're happy to have him on the Music Is Life Podcast. Enjoy part 1 of our interview. For more information on John, please view the following links: Linktree: https://linktr.ee/badtechno Twitter: https://mobile.twitter.com/badtechno Instagram: https://instagram.com/badtechno To purchase official Music Is Life Podcast merchandise from TeePublic.com, use this link: https://www.teepublic.com/t-shirt/240... If you want me to review YOUR band or YOUR music, please contact me at LouMavs@MusicIsLifePodcast.com. If you'd like to donate to the podcast, please send via PayPal to MusicIsLifePodcast@gmail.com. Thanks in advance. Channel graphic created by Rocky Baia. To commision him for work, please follow and DM him at https://twitter.com/RockyBaia. Also, check out his merch store at https://ProWrestlingTees.com/RockyBai.... Intro/Outro Music - "Lose Control" by The Rebel Medium (Jacalyn Guitard, Ernest Layug, Lou Mavs) Links to social media pages on respective websites. https://MusicIsLifePodcast.com https://linktr.ee/MusicIsLifePodcast https://RatSaladReview.com Music Is Life Podcast with Lou Mavs is produced by Anchor.Fm and distributed through Rat Salad Review Network. All rights reserved; any content not created by me is subject to fair use. --- Send in a voice message: https://anchor.fm/rat-salad-review/message

#johnbrennan #thelastdrivein #troma #shudder #amc #joebobbriggs #lloydkaufman #horror #comedy #music #clutch #newyork #ny #longisland #astoria #queens #hellskitchen #nukeemhigh #shakespearesshitstorm #shakespeare #thetempest #cancelculture #bigpharma #michaelherz #independentfilm #cinema #underground #california #hollywood #diy #darcythemailgirl #cwpost #nyu #newyorkuniversity #returntonukeemhigh #museumofthemovingimage #podcast #sgtkabukimannypd #dougsakmann #kabukiman #ratsaladreview #musicislifepodcast #allartisvalid John Brennan is one of the most talented people I know. A musician, an actor, a producer, a director, and a writer, John cut his teeth on independent productions with his friends in high school before making his way to CW Post to study film. Making a pilgrimage to California to test his skills at writing, he returned to New York and found his way to the longest running independent film studio - Troma Films. Spearheading their web series “Kabukiman's Cocktail Corner” (starring Doug Sakmann as the titular character), he became involved with the production of their next film “Return to Return to Nuke ‘em High AKA Volume 2.” Now, John is a producer of his own original music as John Brennan and the Bigfeet, a producer on Shudder's “The Last Drive-In with Joe Bob Briggs,” and a producer of the soon to be released Troma movie “#ShakespearesShitstorm” which is making its NYC debut at the Museum of the Moving Image in Astoria, NY on April 8th, 2022 (go to https://www.troma.com for more information). John is one of the most hard working and nicest guys I know. He deserves all of his success, and we're happy to have him on the Music Is Life Podcast. Enjoy part 1 of our interview. For more information on John, please view the following links: Linktree: https://linktr.ee/badtechno Twitter: https://mobile.twitter.com/badtechno Instagram: https://instagram.com/badtechno To purchase official Music Is Life Podcast merchandise from TeePublic.com, use this link: https://www.teepublic.com/t-shirt/24041518-music-is-life-podcast-official-logo?fbclid=IwAR2DMITWW5QtpxOQFBXgnnguy3rEksMGzkmr7WCPVCHgDZp8hu85LJAup40&ref_id=24450 If you want me to review YOUR band or YOUR music, please contact me at LouMavs@MusicIsLifePodcast.com. If you'd like to donate to the podcast, please send via PayPal to MusicIsLifePodcast@gmail.com. Thanks in advance. Channel graphic created by Rocky Baia. To commision him for work, please follow and DM him at https://twitter.com/RockyBaia. Also, check out his merch store at https://ProWrestlingTees.com/RockyBaia.html. Intro/Outro Music - "Lose Control" by The Rebel Medium (Jacalyn Guitard, Ernest Layug, Lou Mavs) Links to social media pages on respective websites. https://MusicIsLifePodcast.com https://linktr.ee/MusicIsLifePodcast https://RatSaladReview.com Music Is Life Podcast with Lou Mavs is produced by Anchor.Fm and distributed through Rat Salad Review Network. All rights reserved; any content not created by me is subject to fair use. --- Support this podcast: https://anchor.fm/lou-mavs/support

Geoffrey chats with the legendary indie filmmaker and founder of Troma Entertainment, Lloyd Kaufman.You can find Troma films at https://www.troma.com & https://watch.troma.com/The Guide For Every Screenwriter is available at:https://www.thesuccessfulscreenwriter.com/booksScript Evaluation --> https://www.wefixyourscript.com/Don't forget to visit our website for all your screenwriting needs at --> https://www.thesuccessfulscreenwriter.com/podcast

This week Ray & Matt are joined by guest co host comedian Erik Woodworth!Their very special guest is actress, model, author Wendy Kaplan Stuart.We talk about various worldly travels, Wendy tells us about being in Troma Films and keeps on busting Eriks balls. We talk about drag show and Salem Mass. Plus much more!Streaming Extended Episode on our Youtube page!www.thehhpod.com

So, we, here at The Plotaholics, would like to apologize for what you're about to listen to today. We won't be disappointed, hurt, upset, or have any ill will against you if you stop listening part-way through, pull out your voodoo dolls of each of us, and bring about pain that we cannot imagine in our worst nightmares. We deserve it. With that being said, we watched Poultrygeist: Night of the Chicken Dead this week. It's a Troma film. It has chickens, breasts, chicken breasts, beer, songs, and zombie fingers inserted into butts. Yes. Zombie. Fingers. In. Butts. We're sorry. Next week will be better! We promise!Merch note to self: Shane and Bryan voodoo dolls Happy (United Statesian) Thanksgiving!Support the show (https://plotaholics.com)

We hope everything is ok with Lloyd Kaufman who was to be our guest tonight and ask that you all still support Troma Films. That said Kentucky Keith Burr came on and we had one hell of a fun show. Go support him and his partner Paul with their show Cross Examination. As we always do we make so many left turns it looks like NASCAR. 

ANTECEDENTES, FOLKLORE, LEYENDAS ETC.La Peluda o La Velue era un supuesto mostró mitológico que aterrorizaba a La Ferte-Bernard en Francia. Se decía que era del tamaño de un toro y tenia cabeza de serpiente, su cuerpo estaba cubierto del pelaje verde y tenia aguijones.La Bestia de Gevaudan, es el nombre historico atribuido a una bestia devorador de hombres, semejante a un lobo que asolo la region de Gevaudan en el sur de Francia.Ha inspirado muchas obras, entre ellas la pelicula Pacto con Lobos del 2001.La muerta enamorada (1836), relato de Theophile Gautier, un relato vampirico. Clarimonde una bella mujer que seduce a Romuald, para apartarlo del sacerdocio y convertirlo en su amante; ella en realidad es una vampira.El Horla (1882) del es escritor Guy de Maupassant. Narra los síntomas y miedos del personaje principal cuando empieza a sentir la presencia de un ser invisible llamado El Horla quien lo invade y bebe de su vida.CINE DE HORROR FRANCESEl cinematografo patentada a finales del siglo 19 fue la primera maquina capaz de rodar y proyectar películas de cine.En 1895 los hermanos Lumiere presentaron su patente.Francia como cuna del cine, se distingue también como una de las filmografías pioneras en el cine de terror.LA MANSION DEL DIABLO (Le Manoir du Diable)Película muda del año 1896, se considera la primera película de terror y hasta es llamada la primera pelicula de vampiros, ya que incluye una transformacion que involucra a un murciélago).La pelicula es innovadora en longitud, su tiempo de ejecución es de 3 minutos, algo ambicioso para su época.Este corto es muy curioso porque puedes ver cómo le metieron mucho en efectos especiales. Empieza con el vampiro volando, y de pronto se transforma en un hombre, y este es un tipo sorcerer/ hechizero porque apartece un caldero, luego hasta un ayudante, del caldero sale una mujer y hasta tiene un libro de hechizos. El vampiro hechizero se la pasa molestando a un noble y al final este saca un crucifijo el cual ahuyenta al vampiro.Tenemos una obra maestra del director Jean Epstein llamada The Fall of the House of UsherLA CAIDA DE LA CASA USHER (La chute de la maison Usher) - 1928Esta película fue una de varias adaptaciones realizadas a la historia de Edgar Allan Poe que lleva el mismo nombre y que fue escrita en 1839, obra literaria gótica. Esta película (y la historia claro) tratan de Roderick Usher, quien le manda a hablar a su amigo. Roderick vive en una mansión y cuando su amigo llega se da cuenta de que está obsesionado con pintar a su esposa Madeline, quien está al borde de la muerte. Cuando por fin fallece, Usher la entierra en la cripta familiar, pero al poco tiempo la audiencia se da cuenta de que no estaba muerta, sino que fue enterrada viva en la tumba. Madeline revive de una catalepsia, logra salir del ataúd y se reúne con su esposo quien está el shock. Curiosamente, esta película fue escrita por Luis Buñuel, un director español que trabajó en Francia y en México además de su país, España. UN PERRO ANDALUZ (Un Chien Andalou)- 1929El trabajo de Luis fue llamado por Octavio Paz como: el matrimonio del cine como las imagenes petias, creando una nueva realidad, escandalosa y subversiva." Era un surrealista y realizó otro corto de horror llamado "Un chien andalou" - colaboración con Salvador Dali.éste corto cambió la forma en que la gente empezó a hacer películas. Aquí resalta una escena donde se ve como le cortan el ojo a una mujer con un cuchillio, muy gráfico y horror psicológico. Hay una escena donde un hombre tiene un estigma en la mano y le salen hormigas de ahí, me recordó a Oldboy, también un pedazo de mano grotesco.No obstante corrientes vanguardistas como el surrealismo (1924 - 1930) y el realismo poético (1939 - 1945) no dejaron espacio para el avance de los generes fantásticos  por lo que el terror no tuvo un avance significativo.THE DEVILS HAND (La Main du Diable) - 1943Hay pocas películas que se adentraron en el cine de terror, una de ellas es La Main du Diable de 1943. Un pintor fracasado que recibe un amuleto, una mano que le otorgara el don que desee, sin saber que es la mano del Diablo. Se convierte en un artista de éxito hasta el momento de llegar pagar el precio. DIABOLIQUE - (LES DIABOLIQUES) - 1955También llegó a ser traducido como The Devils o The Fiends, es un thriller de horror psicológico dirigido por Henri-George Clouzot. Está basado en una novela llamada She Who Was No More (Ella que dejó de ser) escrita por Pierre Boileau y Thomas Narcejac. Trata de una esposa y la amante de su esposo, juntas tratan de asesinar al esposo. Después de cometer el crimen, el cuerpo del hombre desaparece y ocurrencias extrañas empiezan a suceder. En ese año, llegó a estar en el top 10 de Francia, de las películas más exitosas economómicamente. La película recibió el premio Louis Delluc Prize - Este premio se otorga en Francia desde 1937, anualmente a la mejor película del año. Es importante ocmo los óscares pero en Francia. Allá si ganan óscares películas de terror. EYES WITHOUT A FACE (Les Yeux Sans Visage) - 1960Pelicula de 1959 que se convertiría en influencia para el cine fantástico. Pero no adentraremos a detalles ya que será el siguiente episodio de Radio Horror.JEAN ROLLINRealizador que mezclo el terror con el sadismo erotizado en ambientes góticos, muy influenciado en la filmografía lesbo-vampírica de la Hammer.Su cine completamente abierto a las cuestiones sexuales.Le Viol Du Vampire (1968).Le Vanpire Nue (1971).Requiem Pour Un Vampire (1971).Con La Morte Vivante (1982) Jean Rollin mezcla el erotisimo y el cine zombie, pero version femenina zombi en una tragedia de amor lesbico.THE BEAST (La BETE) - 1975La bestia se metió en el cine erótico de horror, algunos la comparan a la Bella y la Bestia, sin embargo, no hay paralelos en éstas dos historias más allá de que existe una relación entre una bestia y una mujer. La película tenía escenas sexuales explícitas y se ha vuelto una película de culto. Esta pelícual causó mucha controversia por las escenas sexuales que incluían masturbación y coito entre la mujer y la bestia (hombre lobo) así como estos deseos de mantener el placer sexual en la relación. Los actos considerados como "bestialidad" fueron causa de quitar a la película de los cines en Estados Unidos por varios años. En UK se negaron a clasificar la versión donde eliminaron muchas escenas para el cine en general y así fue como evadieron una demanda por violar la Acta de Publicaciones Obscenas en el Consejo de Inglaterra. Rabid Grannies (1989).Es una muestra de gore mas brutal en un filme sin sentido. Es una mezcla de horror-comedia.Esta pelicula es un hit mundial, ya que la distriubucion la adquiere Troma Films (compañía que se popularizo su producción con Toxic Avenger).Baby Blood (1989)Obra de culto del cine gore francés hoy en día, no es mas que una versión grotesca de El Bebe de Rosemary.Una mujer embarazada de una identidad demoniaca, en su vientre vive un pequeño demonio que debe de alimentar con sangre por lo que se ve obligada a asesinar y cometer canibalismo.EL NUEVO EXTREMISMO FRANCESNo surge del cine de terror como pudiera creerse, sino del cine mas artistico, autoral moderno frances. Surge de un analisis que apareció en un articulo "Flesh and blood: sex and violence in contemporary french cinema" publicado en la revista ArtForum, donde su autor James Quandt teoriza sobre el film Twentynine Palms y la representación de las nuevas películas de una generación de realizadores franceses mas preocupados por la estética de lo violento, lo sexual explícito de ponerlas en pantalla.En ese artículo fue que inició el nombre "nuevo extremismo francés" que aunque su artículo era usado como un peyorativo, muchas de las películas que entran en la categoría han ganado múltiples premios.La deshumanización por el entorno social y donde en el momento en que eres dueño de tu cuerpo, de tu sexo, de tu sangre, eres capaz de volver a mirar el mundo pero en otro estado de conciencia. Cuerpo, sexo y sociedad tracendentes.Un cruce entre decadencia sexual, violencia brutal y psicosis.Ejemplos iniciales:Pola X (1999)Romance (1999)Violame (2000)Trouble Everyday (2002).Trouble Every Day (2001)Irreversible (2002)Antichrist (2009)Love (2015)Es controversial esta ola porque: Dicen que ponen demasiada atención a lo bestial y se aleja de lo humano. Hay demasiada concentración en la violencia. Presentan la sexualidad de una forma horrible. Otros dicen que es un cine sobre el cuerpo. 13 Tzameti (2005)Seguimos la historia de Sebastián que encontró intrucciones dirigidas a alguien más y pensó que podría tomar ventaja de suplantar a la persona a quien iba dirigido el mensaje. También platicaremos más de ésta película más delante.Son solo hay 5 cintas que se consideran del nuevo extremismo frances:Haute Tension (Alexandre Aja, 2003)Ils (David Moreau & Xavier Palud, 2006)Frontieres (Xavier Gens, 2007)A I'interieur (Alexandre Baustillo & Julien Maury, 2007) - es la historia de un invasor misterioso que trata de robarle el bebé a una joven embarazada.Martyrs (Pascal Laugier, 2008) - Siguiendo los años 2000s y la ola de sectas y cultos, Martyrs nos trae la historia de este grupo que busca martirizar a mujeres para que conecten con otro plano y así conocer más sobre el mundo, origenes o que hay después de la muerte.Raw también es considerada extremismo francés, 2016: Dirigida por Julia Ducournau nos habla de la vida de una joven vegetariana que empieza su primer año en la escuela de veterinaria y es aquí que prueba la carne por primera vez, desatando un deseo de ingerir carne. La película se presentó en Cannes ese año. Durante su estreno en un festival de cine en Toronto algunos espectadores recibieron atención médica debido a desmayarse después de ver escenas extremadamente gráficas. Se llevó premios en múltiples festivales como Sitges Film Festival, El Festival Internacional de Cine Fantástico de Gerardmer, El Festival de cine fantástico de París, Meliés de Oro, un total de 8 premios diversos. De lo más nuevo está CLIMAX (2019, del director de Irreversible Gaspar Noé y Enter the Void, Love, nos presenta esta película descrita como hipnótica-halucinatoria y que te enchina la piel.★ Support this podcast on Patreon ★

The Law Offices of Quibble, Squabble & Bicker kick off Season 3 with a childhood friend of Greg's, Luke McCullough, a commercial film producer who decides to help with our first client of the season, Growing Up Bald. This client, like most of our clients, really gets avoided and instead they talked about Troma Films, qsblaw.clownpenis.fart, silly ass face, his little fiefdom, the Dead Zone, fever blisters on my lips, a little birdie, stole a Bolex, stuck in a couch, Lloyd Kaufman, Wrath of Cannes, pissed on the floor & maced in the eyes, John Waters, Lichtenstein, Tromeo and Juliet, threaten plants, the Great Santini, rub foreheads, Mr. Milligan, hipponize, Fresh Jizz Sock Day, green mussels, bring down more pants, God's mercy, a cultivator, a prison of crappy politics, murdering cleft palate people and highknife.com. For other episodes, go to www.qsblaw.org. They are also internettable on: Instagram - @lawofficesofquibble; Twitter - @qsblaw; TikTok - @qsblaw; Uhive - www.uhive.com/z/QTTCLFU; Facebook: https://www.facebook.com/quiblle.bicker.3; Tumblr - quibblesquabblebicker; Reddit - https://www.reddit.com/user/QuibbleSquabble or watch them on YouTube - https://www.youtube.com/c/LawOfficesofQuibbleSquabbleBicker --- Send in a voice message: https://anchor.fm/qsb/message Support this podcast: https://anchor.fm/qsb/support

After a run of lower-class films Dave and Casey have decided it's time to celebrate a cinematic classic: Troma Films' 1984 The Toxic Avenger. Joining the team this week is DP David Gregan here to bring a film making perspective to the movie that built more than just a franchise.David discusses Russell Crowe before and after he was built like Dave, Casey raises her concern about the female tans in the movie and Dave is disappointing by David being into the wrong kind of D.P. They highlight their shared love for Troma and celebrate the work of James Gunn. so grab your mop and join the team for a fun time at the tromaville health spa.Follow and support David Gregan at the following:http://davidgregan.com/https://www.vimeo.com/user1939510https://www.imdb.com/name/nm2962529/Listen to us on itunes, Spotify or wherever you get your podcasts.or direct download the mp3 from the link below:https://www.buzzsprout.com/186739/8651693-the-toxic-avenger-aka-celebrating-d-p.mp3?download=true#davesvideograveyard #thetoxicavenger #davidgregan #tromafilms

The gang rides the subway of the afterlife this week, as they review this fan pick from listener Michael,  Kontroll (2003). In his debut feature length film, Nimrod Antal tells a story of a group of misfit enforcers that live and work in the underground subway system of an unnamed Hungarian city. Taking tickets and checking passes is just the beginning of a day's work for Bulcsu and his cohorts, who are also tasked to stop a rash of apparent suicide jumpers that have been hurling themselves in front of trains. Were they all accidents? Are they even part of the land of the living? Watch on Amazon Prime, then find out what we think!In News this week: The best films of 1989, Lethal Weapon 2, When Harry Met Sally, Mel Gibson, Billy Crystal, Honey I Shrunk the Kids, 3D movies, The Abyss, Fuck 3-D, Pet Semetary, Road House, Back to the Future 2, Glory, Matthew Broderick, Denzel Washington, Drugstore Cowboy, Indiana Jones and the Last Crusade, Gus Van Sant, Matt Dillon, Robert Eggers, The Northman, Dave Bautista, Fast and the Furious, Gears of War, Drax, Guardians of the Galaxy, Metal Gear Solid, Oscar Isaac, Solid Snake, Robert DeNiro, Martin Scorses, Killers of the Flower Moon, Tom Cruise, Mission Impossible 6, X-Files, Conspiriously, Harvey Weinstein, Mulder & Scully, Under the Silver Lake, Andrew Garfield, Cannes film festival, The Hobo King, Gweneth Paltrow, Smells like Vagina candles, The Orphan, Peter Sarsgaard, Vera Farmiga, Hard Candy, The Ophan 2, The Orphan: First Kill, Michael Myers, Guillermo Del Toro, Brent Bell, Kung Fu Panda, Panda Power, The Lion King, Dreamworks, Disney, Rubin and Ed, Howard Hesseman, WKRP, Dr. Johnny Fever, Odor Eaters,  Friends reunion episode, Joseph’s Rage, Seinfeld, Larry David, Jerry Seinfeld, King of Queens, 10 rules about dating my daughter, Everybody Loves Raymond, Seincast, Jason Alexander, Knives Out sequel, Katherine Hahn, Step Brothers, Adam Scott, Janelle Monea, Edward Norton, John David Washington, Garreth Edwards, True Love, Rogue One, Godzilla, Paul Schrader, First Reformed, The Card Counter, Tiffany Haddish, Tye Sherridan, Willem Dafoe, Rain Man, 21, Furiosa, Anye Taylor-Joy, Chris Hemsworth, Aaron Taylor Johnson, Yahya Abdul-Mateen II, George Miller, Mortal Kombat, John Seale, Margaret Sixel, Babe 2: Pig in the City, Covid-21, Australia film production, Emile Hirsch, Kristin Stewart, Grave of the Fireflies, Tim Miller, Phil Lord, Chris Lord, Lord Miller, Chris Miller, Into the Spiderverse, Lego Movie, 21 Jump Street, 22 Jump Street, Cloudy with a chance of Meatballs, Solo: A Star Wars Journey, Danny McBride, Maya Rudolph, Beck Bennett, Fred Armisen, Aaron Sorkin, The Social Network, Sacha Baron Cohen, Joseph Gordon-Levitt, Michael Keaton,  Frank Langella, John Carol Lynch, Eddie  Redmayne, Mark Rylance, Jeremy Strong, Father's Day, Manborg, Troma Films, Kajillionaire, Alex Garland, Annihilation, From Beyond, The Reanimator, Jackie Chan, jet Li, Rogers and Hammerstein, Rush Hour 2, Fred Stoller Email us at MCFCpodcast@gmail.com       Joseph Navarro    Pete Abeyta   and Tyler Noe    Streaming Picks:Sasquatch - HuluTroll Hunter - Amazon PrimeNight of the Living Dead - Amazon PrimeInto the Wild - Amazon PrimePrincess Mononoke - HBO MaxThe Mitchell's vs The Machines - NetflixThe Trial of the Chicago 7 - NetflixBig Fish - HBO MaxShadow in the Cloud - HuluColor out of Space - Shutter28 Weeks Later - HuluLove, Death & Robots - NetflixRush Hour - HBO MaxPredator - Hulu

Jon Dunning @JonTheHostFollow the other members of the cinematic cult:Johnny Mulligans @CMDR_HamiltonLindsay Washburn @LindsayWashburnJason Alt @JasonEAltTony Walters @RadEntertainChris Ruppert @_BadMovieNightIan Anderson @IanTheKiltmakerJay Manning @CFmovieTweetsZack Taylor @z4ck38Dana Roach @danaroachDrew Bentley @QUADNINESColeman Yeti @ColemanYetiKing Dooker @KingDookerSupport the show by becoming a Patron:https://www.patreon.com/user?u=15831595#CultMovies #MovieReviews #Movies

After a week delay, the show returns in a familiar but slightly changed manner. This is also the episode that will conclude the "dark superhero" theme, and what better movie to finish off with than the outrageous, zany and politically incorrect Troma Films juggernaut. Dubbed "the Citizen Kane" of low budget schlock, it is PostMortem's undeniable pleasure to discuss this week, the mid 80's Lloyd Kaufman "cleaning crime fighter" in THE TOXIC AVENGER, the first superhero from New Jersey! He was 98 lbs. of solid nerd until he became...THE TOXIC AVENGER! Time to mop up this town! Facebook: https://facebook.com/whatlurksbehindpodcastzero Instagram: https://instagram.com/whatlurksbehindpodcastzero Twitter: https://twitter.com/wlbpodcastzero Email: whatlurksbehindpodcastzero@gmail.com Redbubble: https://redbubble.com/people/podcast0

Grab your doctorate and headbang to this NEW EPISODE of FHM. Cinema Cellar host and North Jersey stand up comic Chas Dente joins the mad lads for a full on film discussion episode. The crew go into the worst movies they've ever seen, genres of films they wish made a comeback, the best of Cinema Cellar, Deliverance, edgy tryhards making political statements, Liam gushing over Troma Films, Dan's hatred of Wired and the pain that is movie theater family nights. The boys conclude with a mini reading series of one Jeffery Young, the man they call "The Rock Doc" who lived up to his name, even if he wasn't a real doctor. Follow us over on Spotify, Apple Podcast (review us pls), Anchor and where ever podcasts are held hostage. IG: Foulhousemateshq Twitter: @realUltraLiam / @daniel_caprio / @ChasDente

We are BACK !!! Welcome back to the Metal Hand Of God ( MHOG ) podcast   Your hosts: Wayne and the RumGuy   We welcome actor, director, special effects artist and so much more. Mr Doug Sakmann aka Kubiki man himself. We talk how he got into this line of work, talk about working for the mighty Troma, how he got to work on Unsolved Mysteries, Wayne introduces Troma films to a coworker, how drive ins are making a come back, #ShakespeareShitStorm, being Kubiki man. The guys also talk about the film Cut Shoot Kill, liquid death mountain water, how covid has changed the world and with working on films. They also talk about the Troma system, Class of Nuke'em high explained, and so much more .. They delve into the world of Troma Films and Into Mr Sakmann's world. So thank you for the support and remember to share, follow, like and subscribe..  If you want to know more about Mr Sakmann and that he is up to ... go check him out on his website ---> HERE ( Doug Sakmann )  Now don't forget if you want some Metal Hand Of God ( MHOG ) podcast SWAG ?? Then go check out our merch store on Tee Public.... RIGHT HERE -----> MHOG Store  Also dont forget for all your HORROR apparel and merchandise need go to FRIGHT RAGS!! Check out their incredible store at www.Fright-Rags.com  ... Also use the code MHOG10 at check out and get 10% off your entire purchase...... You wont be disappointed !! and for all your merch needs check out Pm Star Productions --->here Pm Star   Check out all the incredible concerts coming to the Fillmore New Orleans : http://www.fillmorenola.com/   Cover art by Wayne Theme Music by: Patrick Plata  Podcast produced and mixed by:Wayne   Check for us on Twitter: @mhogpodcast & Instagram: mhog_podcast Our Twitch channel---> MetalHandOfGaming Our YouTube channel ------> MHOG podcast Check us out on Stitcher, Facebook & iTunes. Our website is www.mhogpodcast.com   Gamers can find Wayne and Justin under the tags "Nutso 187"and "The Rum Guy" on x-box live   #649 #DougSakmann #Troma #Tromafilms #KubukiMan #SpecialFX #MakingMovies #livingtheLife #Shakespeareshitstorm #liveyourlife #TeePublic  #fun #life #hobbies  #covid-19 #quarantineLife  #BabylonSporsbar #family #bignamedguests #pmstarproductions #merch  #toys #comicbooks #MightyConNOLA  #trading #WEAREBACK #XboxOne #Xbox   #thingstodo   #8yearsandcounting #mookie #life #SoothingSounds  #FunkoPops #popCulture #Music #fuckcancer #supportlocal #metal #metallife  #art #comicbooks  #horrormovies #concerts   #nsfw #comedy #podcast #mhog #funny #humor #metal #family #jokes #success #culture #freedom #videogames #sports #television #beer #animation #music #theFillmoreNOLA #FillmoreNewOrleans #metalhandofgodpodcast 

Today my guest is Robert Smokey Miles...     He knows Bob Dylan personally and even used to be his house sitter as a teenager Around 1987 he began hosting open mics and acoustic music showcases at the Breakaway Gardens in Venice, CA, much like I did in the San Fernando Valley several years later. Although I had been to the Breakaway,  on many occasions before I left Venice, I don’t recall having ever met Smokey, although in retrospect, I must have. While editing this episode, I determined it would have been almost impossible for me not to have crossed paths wit this guy! As Count Smokula, a quirky vampire sporting a fez and playing accordion,  he was a male counterpart to Elvira, MIstress of the Dark. Although Elvira had a more massive following, Smokula has a pretty fair cult following of his own. He continues to perform in the Annual Pasadena Doo Dah Parade with The Radioactive Chicken Heads. He’s worked in some bizarre cult films such as “Magics”, about a very unique magician who entertains sick and injured Palestinian and Jewish kids thoughout Israel's pediatric hospitals. Original music performed by bob as Count Smokula on his accordion Appears in several Troma Films from Troma Entertainment which is an independent film company that produces low-budget independent films. Mostly flicks that pay homage to the 1950’s horror films - lots of farcical parodies with gratuitous fake blood, guts and gore. These include: Trasharella with Rena Riffel; and he even did a couple of songs with Ron Jeremy, the porn star for TromaDance Festival one year. For links to my Smokey’s website and Youtube videos, go to www.talesoftheroadwarriors.com/smokey-miles where you’ll find them right under the show notes! So yeah, Smokey’s done his fair share of hosting music showcases, playing his guitar and the accordion, doing sketch comedy in the persona of the immortal Count Smokula, and cameo appearances in movies and music videos with the likes of Bob Dylan, himself. So, ‘nuff said… Here he is to talk about it - Robert “Smokey” Miles! Links to some of Smokey’s stuff (right under the Show Notes, where  I said they’d be): Smokey Miles Official Website The Social Distance Dance Bob Dylan’s "Must Be Santa" Official VideoSmokey plays a smoking’ accordion solo in this vid!

This episode takes a look at the 1980s theatrical releases for New York City-based independent production company and distributor Troma Films, including the 1980s horror-comedy classic The Toxic Avenger. ----more---- The movies discussed during this episode: Class of Nuke Em High (Lloyd Kaufman [as Samuel Weil] and Richard W. Haines, December 1986) Fat Guy Goes Nutzoid! (John Golden, September 1986) The First Turn-On (Michael Herz and Lloyd Kaufman [as Samuel Weil], October 1984) Lust for Freedom (Eric Louzil, February 1988) Monster in the Closet (Bob Dahlin, January 1987) Mother's Day (Charles Kaufman, September 1980) Splatter University (Richard W. Haines, July 1984) Squeeze Play (Michael Herz and Lloyd Kaufman [as Samuel Weil], May 1981) Stuck on You!! (Michael Herz and Lloyd Kaufman [as Samuel Weil], October 1983) Student Confidential (Richard Horian, December 1987) Surf Nazis Must Die (Peter George, July 1987) The Toxic Avenger (Michael Herz and Lloyd Kaufman [as Samuel Weil], April 1986) The Toxic Avenger Part II (Michael Herz and Lloyd Kaufman, February 1989) The Toxic Avenger Part III: The Last Temptation of Toxie (Michael Herz and Lloyd Kaufman, November 1989) Troma's War ((Michael Herz and Lloyd Kaufman [as Samuel Weil], December 1987) Waitress! (Michael Herz and Lloyd Kaufman [as Samuel Weil], September 1982) When Nature Calls (Charles Kaufman, September 1985)

This episode takes a look at the 1980s theatrical releases for New York City-based independent production company and distributor Troma Films, including the 1980s horror-comedy classic The Toxic Avenger. ----more---- The movies discussed during this episode: Class of Nuke Em High (Lloyd Kaufman [as Samuel Weil] and Richard W. Haines, December 1986) Fat Guy Goes Nutzoid! (John Golden, September 1986) The First Turn-On (Michael Herz and Lloyd Kaufman [as Samuel Weil], October 1984) Lust for Freedom (Eric Louzil, February 1988) Monster in the Closet (Bob Dahlin, January 1987) Mother's Day (Charles Kaufman, September 1980) Splatter University (Richard W. Haines, July 1984) Squeeze Play (Michael Herz and Lloyd Kaufman [as Samuel Weil], May 1981) Stuck on You!! (Michael Herz and Lloyd Kaufman [as Samuel Weil], October 1983) Student Confidential (Richard Horian, December 1987) Surf Nazis Must Die (Peter George, July 1987) The Toxic Avenger (Michael Herz and Lloyd Kaufman [as Samuel Weil], April 1986) The Toxic Avenger Part II (Michael Herz and Lloyd Kaufman, February 1989) The Toxic Avenger Part III: The Last Temptation of Toxie (Michael Herz and Lloyd Kaufman, November 1989) Troma's War ((Michael Herz and Lloyd Kaufman [as Samuel Weil], December 1987) Waitress! (Michael Herz and Lloyd Kaufman [as Samuel Weil], September 1982) When Nature Calls (Charles Kaufman, September 1985)

In this episode of G ZERO KLASSIX, Clyde Lewis broadcasts from Salt Lake City on January 17, 1999. He talks with Rob McConnell from the "X" Zone radio show and Lloyd Kaufman from Troma Films. The main feature of the program was an interview with the production crew of the Blair Witch Project (Eduardo Sanchez, writer, Daniel Myrick, Producer, and Heather Donahue, actress). G ZERO KLASSIX is a blast from the past; older show archives taken from the vault of Ground Zero.  In order to access the entire archived shows/podcasts, you must sign up on our secured server at https://aftermath.media/ It's only $4.99 a month for the archived shows/podcasts or if you want access to the Ground Zero online library, which includes videos, audio clips, e-books, documents, a news aggregator, a social media platform, plus the archived shows/podcasts are $9.99 a month.   Support the show: https://aftermath.media/ See omnystudio.com/listener for privacy information.

Stanley Lloyd Kaufman never really wanted to make movies, but wanted to work in Broadway musicals. During his years in Yale, though, he got introduced to "B" pictures and the works of Roger Corman. Lloyd later got the opportunity to executive-produce a short movie made by a fellow student. The film, called "Rappacini", got him even more interested in movies. He bought his own camera and took it with him to Chad, Africa, were he spent his summer. There, he shot a 15-minute film of a pig being slaughtered. That was his first movie, and was the birth of what was later to become known as Troma Films. He showed the footage of the squealing pig being killed to his family, and their shocked reaction to it made him wonder if making movies that shocked audiences would keep them in their seats to see what would happen next. He wanted to be a director right then and there, so he got a couple of friends at Yale and made his second movie, The Girl Who Returned (1969). People loved it, and he went straight to work on other films, helping out on projects like Joe (1970), Rocky (1976) and Saturday Night Fever (1977). Lloyd put in a lot of long, hard hours in the film business, just to be in the credits and to get money for his next project, a full-length feature. It was a tribute to Charles Chaplin, Harold Lloyd and the classic era of silent-film comedy. Even though Lloyd hated the movie when it was finally completed, people seemed to love it. He formed a studio called 15th Street Films with friends and producers Frank Vitale and Oliver Stone. Together, they made Love Me My Way (1973) and Super Dick (1971), directed by John G. Avildsen. A friend from Yale, Michael Herz, saw Lloyd in a small scene in "Cry Uncle" and contacted him to try to get into the film business, too. Kaufman took Herz in, as the company needed some help after Oliver Stone quit to make his own movies. Michael invested in a film they thought would be their biggest hit yet, Schwartz: The Brave Detective (1973) (aka "Big Gus, What's the Fuss?"). It turned out to be a huge flop and 15th Street Films was ruined. Lloyd and Michael owed thousands of dollars to producers and friends and family members who had invested in the picture. Lloyd, trying to find a quick way to pay off the bills, made The Divine Obsession (1976), and with Michael formed Troma Studios, hoping to make some decent movies, since they only owned the rights to films they thought were poor. They were introduced to Joel M. Reed, who had an unfinished movie called "Master Sardu and the Horror Trio". The film was re-edited and completed at Troma Studios (which actually consisted of just one room) during 1975, re-titled and released in 1976 as Bloodsucking Freaks (1976) (aka "Bloodsucking Freaks"). It was enough of a success to enable them to pay the rent so they wouldn't lose the company. Lloyd later got a call from a theater that wanted a "sexy movie" like The Divine Obsession (1976), but about softball (!). The resulting film, Squeeze Play (1979), used up all the money Troma had earned from "Bloodsucking Freaks" and, as it turned out, no one wanted to see it--not even the theater owner who wanted it made in the first place (he actually wanted a porno movie). Just when things looked their darkest, they got a call from another theater which was scheduled to show a film, but the distributor pulled it at the last minute. Troma rushed "Squeeze Play" right over, and it turned out to be a huge hit. Lloyd, Michael and Troma eventually made millions from it, and had enough money to buy their own building (which still remains as Troma Headquarters). Troma then turned out a stream of "sexy" comedies--i.e., Waitress! (1981), The First Turn-On!! (1983), Stuck on You! (1982)--but there was a glut of "T&A" films on the market. Troma noticed that a lot of comedies were being made, and decided to make one, too, but much different than the rest. After reading an article that claimed horror movies were dead, Lloyd got the idea to combine both horror and comedy, and Troma came up with "Health Club Horror"--later retitled and released as The Toxic Avenger (1984), a monster hit that finally put Troma on the map. Lloyd Kaufman and Troma have become icons in the cult-movie world, and Troma has distributed over 1000 films. Lloyd has continued his career as a director in addition to producing, and Troma has turned out such films as Monster in the Closet (1986), Class of Nuke 'Em High (1986), Combat Shock (1984), Troma's War (1988), and Fortress of Amerikkka (1989), and Poultrygeist: Night of the Chicken Dead (2006), which follows an army of undead chickens as they seek revenge on a fast food palace.  #Shitstorm Shakespeare out this year. 

Rhonda Shear interviews Lloyd Kaufman of Troma Films and TV icon and Batman and Robin star Burt Ward. Plus comedian Helen Keaney. Lloyd talks about his new film Shakespeare Shitstorm and Burt talks about his all natural dog food Gentle Giant.

On this week's episode, we dive deep into the backstory of Jeff Sass. We talk about his experience with Troma Films, gaming with William Shatner, and appearing/working in the Toxic Avenger. Jeff also talks about what it was like in the early days of the gaming industry.In this episode, Jeff dives into his work with Startups.club, being in the forefront of the domain industry, and 3 tips from his book "Everything I Know about Business and Marketing, I Learned from THE TOXIC AVENGER: (One Man's Journey to Hell's Kitchen and Back)"!  Check out Jeff’s book here:Everything I Learned About Business and Marketing, I Learned From THE TOXIC AVENGER: (One Man's Journey to Hell's Kitchen and Back) Subscribe on Apple Podcasts: https://bit.ly/Ikgpodcast Tell us what you think of the episode in the comments.If you are interested in listening to someone in a certain profession let us know and we will try and get a hold of them! New episodes are out every Tuesday so be sure to subscribe to the page and ring that bell! Check out iknowthisguy.com for transcripts, show notes, blogs, and more! Follow us on social media platforms everywhere! Patreon https://www.patreon.com/iknowthisguyInstagram https://www.instagram.com/iknowthisguypodcast/ Facebook https://www.facebook.com/iknowthisguypodcast/ Twitter https://www.twitter.com/IKnowThisGuyNF/TikTok https://www.tiktok.com/@iknowthisguypodcast/ Don't forget to follow Norman Farrar too! Norm Farrar Instagram https://www.instagram.com/normfarrar/Norm Farrar Facebook Page https://www.facebook.com/whoisthebeardguy/

Or did I save hers? Regardless, you need to know Natasha Halevi. I met her when we randomly saved each other's lives during a race several years ago (true story) and since then she's become a filmmaking triple threat (completely unrelated to the life saving story). We'll talk about her new short film, starting The Fatale Collective and being married to an LA Clippers fan (named Sean Gunn). We also shower love on Lloyd Kaufman and Troma Films, talk filmmaking and Sean joins us to talk about filming Guardians of the Galaxy and which sequels are better than the originals. Subscribe to Geekscape on iTunes! Follow Jonathan on Twitter and Instagram!Join the Geekscape Forever Facebook Group!Visit Geekscape.net for more Geekscape goodness! This podcast is powered by Pinecast.

He was 98 pounds of solid nerd, until he became...  THE TOXIC AVENGER.  That's right. This week, we're headed to Tromaville and we're watching the film that put Lloyd Kaufman on the map, with the 1984 film, The Toxic Avenger.  Gruesome deaths, foul mouths, and babes are aplenty in this low-budget cult classic. So grab a mop and watch out for toxic waste as we discuss our feelings on Troma Films, how much we dislike Melvin's face, and marvel at the balls-to-the-wall attitude of the film.  You can find us on iTunes, Stitcher, and Google Play Podcasts. If you want to see more from us, check out the website and follow us on Twitter, Facebook, and Instagram.   We are now part of Geek Vibes Nation, so be sure to check out their website and to look for us on their future podcast shows.  This week's episode features music from Dave Katusa and you can follow him on Instagram.   

Let's see if you have the stomach to watch these two famous Troma Films and listen to Mitch, Mur and Jonathan take them apart piece by piece. "You fat slob. Let's see if you've got any guts" -The Toxic Avenger

Scott L. was joined by Neighbor Brad this week who brought over Addison Binek to talk about the good, the bad and the ugly of horror films. Addison has worked with the Lloyd Kaufman, one of the founders of Troma Films on his widely popular "Tromasterpiece Theatre."  Addison is currently at work with Greg DeLiso putting the finishing touches on their newest film, "Psycho Ape."

What can I say about Lloyd Kaufman? Director. Writer. Producer. Indie Filmmaker. Innovator. Nice guy. Pain in the ass of mainstream media. I believe all of those statements are true and then some.Lloyd Kaufman is one of the original indie filmmakers going back to the 1970s. The Troma Universe was born in 1974 with a series of highly original, raunchy comedies such as Squeeze Play!, Stuck On You!, Waitress!, and other film titles ending with an exclamation point.In my favorite decade, the '80s is where Lloyd Kaufman really made a name for himself. His 1984 sleeper hit The Toxic Avenger launched his career and his production company Troma Entertainment. Creating his own brand of independent films, Lloyd Kaufman discovered there was a market for his "unique type" of films.The success of The Toxic Avenger was followed by a string of commercial and artistic triumphs in a similar vein, blending fantasy, comedy, badass action, and a bit of eroticism in a style that can only be described as “Tromatic”.These films, including the Class of Nuke ‘Em High trilogy, Sgt. Kabukiman NYPD and Troma’s War were often ignored or scorned by the intelligentsia of the time but spoke to an entire generation (including yours truly) of young people who rejected the pandering, commercial films of the mid-to-late ’80s. Some of his fans include Quentin Tarantino, Kevin Smith, Mike Judge, Peter Jackson, and Trey Parker.Always one to help indie filmmakers, Lloyd Kaufman just wrote his most recent book Sell Your Own Damn Movie!, the latest installment of his acclaimed series of books on guerrilla filmmaking that includes Make Your Own Damn Movie: Secrets of a Renegade Director, Direct Your Own Damn Movie! and Produce Your Own Damn Movie!  The books have inspired Kaufman to teach a successful series of Master Classes at colleges and institutions across the country and the world!To say this was an enjoyable and entertaining interview would be an understatement. Enjoy my conversation with the one and only Lloyd Kaufman.

Joe and Seamus discuss Drag Me to Hell and Troma Films

Toxic Avenger creator and Troma Films co-founder Lloyd Kaufman is an indie film legend. And if you don't believe he's a legend, you will after this interview. So let's talk to the outspoken maverick filmmaker about the state of independent film, Class of Nuke 'Em High, James Gunn, Poultrygeist, Guardians of the Galaxy, and Tromeo and Juliet and everything in Tromaville. 

Grapparna är tillbaka även denna vecka. Den här gången med en avsnittsidé från lyssnaren @holmam7415 på instagram som föreslog ett skolavsnitt. Så vi pratar om levande och döda gestaltningar av människor med koppling till skolan, grabbarnas personliga favoritfilmer som har skolkoppling, självklart egna dråpliga historier från deras skolgång och en recension av B-klassikern "Class of Nuke 'Em High" av Troma Films. Trevlig lyssning! Har ni lyssnare där ute mer förslag på avsnitt är det bara att höra av sig till oss! Hemsidan: https://creativemeltdownpod.wordpress.com/ Här finns vi: iTunes/Apple: https://itunes.apple.com/us/podcast/creative-meltdown-podcast/id1171487351 Android (Smartphone/Samsung): http://www.subscribeonandroid.com/creativemeltdownpodcast.podbean.com/feed/ Acast: https://www.acast.com/creativemeltdownpodcast Player.FM: https://player.fm/series/creative-meltdown-podcast Spotify: https://open.spotify.com/show/1WhckMo5QmkT37CNwSBO7Z?si=VxHA6h0dQiaZD-lNKrOwxw Sociala medier: Youtube: https://www.youtube.com/channel/UCA4LWmsHj8LhZ8j8SSWf1Pg?view_as=subscriber Twitter: https://twitter.com/CreateMeltPod Instagram: https://www.instagram.com/createpod/Facebook: https://www.facebook.com/CreativeMeltdown/

Episode 216- Everything I Learned From The Toxic Avenger with Jeffrey Sass #BeardSpeaks What Up Heads Today on the Big Beard Show..... JEFFREY SASS... CMO of .Club domains and 7 Year Veteran of independent film houst TROMA FILMS. He has authored EVERYTHING I KNOW ABOUT BUSINESS & MARKETING, I LEARNED FROM THE TOXIC AVENGER, an awesome collection of film making memories and business lessons collected during an interesting successful life. GET HIS BOOK AT ToxicAvenger.Marketing NOW THE #BeardSpeaks NOW. #BeastHost Bobby's Buds.. With legalization sweeping the nation, its important to know where and WHO your cannabis products are coming from. With Bobby's Bud's He's putting his damn name on it. ORIGINATOR of the Faygo Flavored Cannabis Concentrate Cartridge; Highly Sought After and Truly Trusted Powerfully POTENT Cannabis Products. Bobby's Buds..... He's the plugs Plug... Hit him up on Instagram @BobbyTheBarber1 JOIN BOBBY'S BUDS, 656 RECORDS & THE #BeastHost THIS SEPTEMBER AT 656 FEST.... Maine's #1 Hip Hop, EDM and Cannabis Celebration. https:www.656fest.com for more info. VISIT RAPromos.net for all your print and promotional needs. For more Incredible Beard Footage, Visit https://www.Patreon.com/BeastHostBeard LIKE, SHARE, COMMENT & SUBSCRIBE LISTEN TO THE BEARD SPEAKS MONDAY & EVERY OTHER FRIDAY PLUS THE BEARD SPEAKS AGAIN EVERY WEEKEND AnchorFM- https://anchor.fm/beasthostbeard OR iTunes, Google Podcasts, Stitcher, Breaker, Pocketcasts, and Radio Public. WATCH THE BEARD SPEAK TUESDAY & EVERY OTHER THURSDAY https://www.Youtube.com/ChuckReevesBeastHost The Beard Has Spoken. Rasputin The Ginger Beard is Kept Clean And Well Lubricated BY http://www.MyBeardLove.com/BeastHost Check Them Out On Instagram @TheRealBeardLove FOLLOW, DEIFY AND OBEY THE #EASTCOASTBEASTHOST #BeastHost Social Media https://www.Facebook.com/BeastHostBeard https://www.paypal.me/BeastHostBeard ALL #EastCoastBeastHost content is original, all unoriginal content was used in Accordance with fair use doctrine. Send blunt roaches, complaints and gripes straight to your Mom, C/O Me, Chucks House --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

On this episode of The HamRadio Show we welcome Legendary filmmaker Lloyd Kaufman from Troma Films and So much more insanity happens!

On this episode of The HamRadio Show we welcome Legendary filmmaker Lloyd Kaufman from Troma Films and So much more insanity happens!

On this episode of The HamRadio Show we welcome Legendary filmmaker Lloyd Kaufman from Troma Films and So much more insanity happens!

Mother's Day is upon us and what better way to celebrate than with two films about psychopathic mothers and the children who love them. First up is Mother's Day (1980) directed by Charles Kaufman, brother of Lloyd Kaufman, founder of Troma Films. It stars Tiana Pierce, Nancy Hendrickson, and Deborah Luce as a trio of girls out for an annual party weekend, but only to find a sadistic family that wants to torture them. Actress Beatrice Pons and her loyal but evil children played by Michael McCleery and Frederick Coffin round out this cult favorite. Mother's Day (2010) directed by Saw franchise favorite Darren Lynn Bousman has an all-star cast in Jaime King, Shawn Ashmore, Briana Evigan, Patrick John Flueger, Warren Kole and Rebecca De Mornay as Mother! Does the remake pale in the light of the original or does it hold a standard as to what remakes can be? Join the Invaders as we salute the women who raised us, and horror these cinematic mothers brought to the silver screen. Support independent podcasts like ours by telling your friends and family how to find us at places like iTunes, Google Play Music, Stitcher, PlayerFM, Tune In Radio, Audioboom, BluBrry, Libsyn, YouTube and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. There "earballs" will thank you. Follow us on Twitter: @InvasionRemake Like and share us on Facebook: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com

  Our third Movie for Halloween- This is the greatest film ever. With Host Ashish Thomas Featuring Glen Wolfe, James O'Donnell and Angelo Carbone Recorded at Platinum Wolfe Studios Amazing Classic so Bad its good Love Troma and Tromaville Became a big fan of all Troma Films and Lloyd Kaufman Check it out The post The This Aint Right Movie Podcast-Toxic Avenger appeared first on The Geeked Gods.

Normally Brett writes these things. I don't think they're important. I (Joe) go it alone. I think it went pretty well! I talk about Mortal Kombat, my cats, Anthony Keidis' dad, and a bunch of other shit, the go on and on about Lloyd Kaufman's book Make Your Own Damn Movie with I throughly enjoyed. We'll be talking Troma for the next few episodes prepping for an interview with Lloyd next month i think. Bye

This Week in Film, join Nick, Ray, & Charlie as they discuss 10 Cloverfield Lane (2016), Bronson (2008), & Sgt. Kabukiman N.Y.P.D. (1990). Week 23 Rundown: 00:00 – Show Open & Intros 00:39 – Sgt. Kabukiman N.Y.P.D. (1990)15:03 – Bronson (2008)24:05 – 10 Cloverfield Lane (2016)34:28 – Plugs & Show Close End of Show. First up, Charlie talks the horrors of Sgt. Kabukiman, NYPD, and goes into when he worked for Troma Films. Next, Ray puts us into solitary confinement with Bronson. Finally, Nick goes underground with 10 Cloverfield Lane. Spoiler alert though, if you haven’t seen it, he will ruin the ending for you, and it’s worth the journey. Please Enjoy/Share/Subscribe/Rate/Review our show! Don't miss the latest podcast: http://thisweekinfilm.libsyn.com/ Check out the website: http://www.thisweekinfilm.com Find Us On Social: | Patreon | facebook | | Instagram | Letterboxd | | Twitter | YouTube | Website | Where You Can Listen to the Show: | acast | BeyondPod | Blubrry | | Castbox | GooglePlay | iTunes| | LibSyn | Luminary | Overcast | | PlayerFm| Pocket Casts | Podchaser | | Radio Public | Soundcloud | Spotify | | Spreaker | Stitcher | TuneIn | #podcast, #podcasting, #podernfamily, #podcasts, #filmpod, #film, #movies, #thisweek, #moviepodcast, #movie, #10cloverfieldlane, #cloverfield, #bronson, #troma, #sgtkabukimannypd, #kabukiman, #nypd,

Oh, jeez, here I am. Marc Hershon, your host and artificial sweetener for Epi131 of Succotash, the Comedy Podcast Podcast. This is another edition of Succotash Clips, and we have a whole passel of comedy podcast clippage for you. When I say “we” I mostly mean me because I’m the only one typing up this blog entry.  But I also include our booth announcer Bill Heywatt, whom you heard at the top of the show, our Engineer/Producer Joe Paulino, our booth assistant Kenny Durgis, and our delightful Associate Producer Tyson Saner, who discovered and harvested several of the selections you’ll be hearing. And I also include those comedy podcasters who got their clips to us themselves. Yes, that’s right. If you want to get a clip of your show on our show, and you’re tired of waiting around for either Tyson or me to find you, you can upload a 3-5 minute MP3 clip directly to Succotash by going to http://hightail.com/u/Succotash and following the simple instructions. Fifth Annual Los Angeles Podcast Festival I got my super early bird 3-day pass for this year’s 5th Annual Los Angeles Podcast Festival. It’s toward the end of September – the 23rd thru the 25th. That pass was just 99 bucks and I just checked – ALL the early bird passes are sold out so if you’re going to go, you’re going to be paying full freight. You can get a one day pass or got for all three days. Check out the ticket sitch at http://LAPodfest.com. I’m trying to see if they’ll let me run a panel or be a guest on a panel or even do a live Succotash episode from the festival. We’ll see. At the very least, I’ll go prepared to hold down my usual corner of the Podcast Lab. In This Episode Most of clips we have loaded up for this show are from podcasts we’ve not featured before, but there are a couple of familiar faces…or voices, rather. We have snippets from the Cue Plot Device podcast, The Language of Bromance, the Mt. Rushmore podcast, Poop Culture, the SeeSo SeeShow, the ShePod podcast, Sup Doc, This Freakin’ Show, This Is A Podcast and The Unoriginal Podcast. In addition to the clips, we have a double dose of our Burst O’ Durst segment with political comedian and social commentator Will Durst. Plus another musical piece by Tyson made up by cobbling together audio from the How Did This Get Made? podcast called “Dance Mr. Boogaloo.” (Other selection by Tyson can be found on his SoundCloud page.)There is a pile of things to read in the ol’ TweetSack. And, in honor of Elon Musk’s most recent Space X private rocket launch and landing, this episode of Succotash Clips is brought to you by Henderson’s Space Pants. Clips ShepodI think Succotash is beginning to collapse under the sheer weight of podcasts. It’s crazy how many new shows are flocking out of Podcastland. And not so old shows. I’ve recently become acquainted with a show called The Shepod: Brunch with Rachel and Sara (not the bible ones) and it just passed it Epi50 mark without me noticing it until now. The show features two women who aren’t comedians per se, but they are funny as hell – Rachel King and Sara Tenenbein. The latter is some kind of marketing consultant and the former works as a writer and some other kind of consultant. Sup DocTyson snipped us from Sup Doc, a podcast about documentaries and the documentarians who make them. From Epi26, which I mentioned a few weeks back on Splitsider.com and the Huffington Post, we have part of a conversation with Sup Doc co-host Paco Romane and guest Todd Glass, a very funny comedian and podcaster whom I interviewed during last year’s LA Podfest. The subject of the episode was Bill Maher’s Religulous doc from 2008, all about the craziness of the worlds’ religions.   Cue Plot DeviceNext up is a podcast which I never knew about until they were kind enough to start retweeting some of our stuff a few months back. Often times that’s enough to get our attention so I went to check out Cue Plot Device. It’s hosted by four guys: Dr. G, Yosh the Scientist, The Captain, and Chief — not their real names, I assume. This show falls into the Nerd category, I think, because they cover such things as “cartoons, comics, video games, movies, tv-shows, card games, board games, and much, much more”, according to their homesite. But one of their segments focuses on their title’s subject: Plot devices. Here they delve into Season 2 of Netflix’s Daredevil series. SeeSo SeeShowWe’re going to go a little meta here. We have clipped and talked about the SeeSo SeeShow podcast a few times previously, hosted by Andrew Stevens. It’s an independent podcast that cleaves very closely, nonetheless, to the relatively new SeeSo streaming comedy channel. In his fourth episode, Steven himself clips an interview with Community creator Dan Harmon which was done on the 100th episode of the Innovation Crush podcast last October.So we're clipping a clip that was clipped for another show. In that episode, Harmon talked at length about the “story circle” technique of story writing. Mt. RushmoreWe stick with the musical theme for a bit, by way of a clip uploaded directly to us by the guys over at the Mt. Rushmore podcast. According to their homesite, the show features Michael Winfield and Richard Manfredi who argue a lot. Their arguments revolve around what they call the "Mt. Rushmores of Life" — the four things that best represent any particular category. Such as the Mt. Rushmores of Kids’ Cereals. Or the Mt. Rushmores of Fictional Presidents. They then present those arguments to Jeff Hopkins, a comedian, judge and jury, who then passes judgement. The clip that they uploaded to us is from their Epi4: The Mt. Rushmores of One and Done Albums. Then here is where I started to get a tad "ranty"… The Language of BromanceThere’s a whole swath of podcasts out there in Podcastland helmed by people that really aren’t looking for personal fame, which you can tell because they don’t use their last names. Of course, it could just be because they don’t want anyone at work — or their parents — to find out. I’m not sure what the case is for Richard and Bruce, the hosts of a show called The Language of Bromance, but they have 93 episodes out there on the podwaves so it’s obviously a serious enough endeavor. (Come on, guys! What are your last names? Drop me an email or a direct message on Twitter and we’ll reveal the information in the next Tweetsack segment.) I’ve got a chunk from their Epi92, entitled "Bros At The Zoo". In this clip they’ve been ruminating about what it would be like if animals came to look at people in what they’re calling a human zoo.   Then I got even rantier… This Freakin’ Show Our next show, scooped up by Tyson, is ANOTHER show featuring semi-anonymous hosts. I don’t know why I’ve got a thing aobut this so much this week. People can do what they want. But to me it smacks of the Millenial thing of being anonymous on the internet. Saying shit but not being visible enough for anyone to knock you down for it. That’s not saying that the hosts of This Freakin’ Show are talking shit about anyone. That’s just the name of their podcast. Awesome. By way of thei homesite, the hosts are Travis-T, a Divinity student; Awkward Colin, a Navy veteran; and Geek Show Joe, a podcaster and graduate student. Their thing is the usual territories of chatfest shows: current events, pop culture and then, in the miscellaneous column, “shenanigans that tickle our fancies.” (That must have been written by the graduate student.) And they put their own spin on the commentary which, in this clip, revolves around which — in the wake of Batman v Superman: Dawn of Justice — has them asking each other which DC Comics characters would they like to see made into a movie. But then I finally give up… Poop Culture PodcastOkay, okay. I’m going to give up obsessing on this “no one wants to use their own name” thing. It’s kind of like radio back in the day, when all the on-air personalities had made-up names like Wolfman Jack, Jocko Henderson, and Kid Leo. I guess this is the podcast trend, at least for hosts that aren’t famous comedians or whatever. So let the slack-cutting begin with the Poop Culture Podcast! The hosts are the Boobie Brothers and Mancrush. Clearly their pseudonyms haven’t kept them from getting decent guests on the show. A few episodes back they talked at length to Lloyd Kaufman, the man, the myth and the legend behind Troma Films. This Is A PodcastAnother selection from Tyson Saner’s bushel basket full of clips comes from a show with the blatant title, This Is A Podcast. Interestingly, there is a second show called This Is A Podcast show listed on iTunes but don’t be fooled – the last episode for THAT show was in September of last year. (Another few months without a fresh installment and that show will be eligible for the Podcast Graveyard segment…) But THIS version of This Is A Podcast, hosted by Thomas Allie and Kristi Diaz, who are described as “20-something young lovers” on the Stitcher website, say that they poke fun at the of the world in a way that most wouldn’t. The Unoriginal PodcastThe next clip comes from a show that’s begun passing the Succotash, meaning retweeting our Succotash tweets on Twitter and we love that. It’s called the Unoriginal Podcast, which is very honest but not very original, as it turns out, because there’s The Original Unoriginal Podcast, as it’s called but which stopped putting out new ‘sodes back in 2012. (A definite candidate for the Podcast Graveyard. If we only had the time this week we’d do it. Next time…) Anyway, THIS Unoriginal Podcast hails from Ireland and features Ciara, Dayo, and Fredi. They’re only five episodes in and don’t seem to have a proper homesite yet. This slice is from their Epi4, entitled, “The One with The Shenanigans?" There’s that word again. What’s the deal with “shenanigans”? Before I sign off, I wanted to kindly suggest you visit our homesite at http://SuccotashShow.com and help to keep us in business by clicking on the Donate button there and tossing us a few bones. Or use the Amazon banner at the top of that same page next tim eyou want to buy something from Amazon – we get a li’l taste of that. Or buy some of our merch from the Succotashery. Other than those things, I got nuthin’. Except this: Please remember to pass the Succotash! — Marc Hershon

Welcome to Epi80 of Succotash, the Comedy Podcast Podcast. This week our special guest is Paul Mecurio, who you would have also heard for a few minutes at the top of last episode, number 79, and for a longer interview back in Epi65. To be honest, I was going to play my interview that I did back in October with Travis and Brandy Clark, from the Tiny Odd Conversations podcast but I recorded it at a sidewalk café in North Hollywood and the traffic noise made it really difficult to listen to, which means I’ll have to visit them and have another sit down soon. Apologies guys! I ended up having a good conversation with Paul, who was in town performing at the San Francisco Punchline. I caught his show on Wednesday night then we spent the rest of the week trying to coordinate a time for the interview. What finally worked was getting together in the last hour that he was in town, at his hotel, before he had to dash off to the airport. We talked about some of the projects he's got going on, from his headlining gigs around the counttry to some TV show ideas he was on his way to LA to pitch, and also The Daily Show and The Colbert Report, both of which he still does audience warmup and writing for. During the interview I cut away to play a couple of audio snippets from things like his Makeover Specialist and this video segment he did from Got No Game, a show on HBO Sports… The 10 Most Active Shows in the Stitcher Top 100 Comedy Podcast List Here's our weekly look at the shows that moved the most UP or DOWN on Stitcher's Top 100 Comedy Podcast list. AT                                                                                 MOVED 28. The Crabfeast with Ryan Wickler & Jay Larson             +634. Bertcast’s Podcast                                                      +1236. SModcast >> Jay & Silent Bob Get Old                         -1044. Keith & The Girl Comedy Podcast                                -1148. What Say You?                                                            +662. About Last Night                                                         +3175. How Was Your Week with Julie Klausner                     +3085. The Almost A Show Podcast                                        +18189. The Half-Assed Podcast with Gary & John                   +29594. Out Of The Box Podcast                                              -11 And Succotash has actually benefited by missing a week, apparently, as we are hanging at #5945, which is UP 1616 place since last episode! Maybe we'll stay away more often… Burst O' Durst In this week's Burst O' Durst segment, our Ambassador to the Middle rails a bit on New Jersey governor Chris Christie. He's a hard target to miss. Musical Break During the show we play a cut from Walk The Fire, the new album by friend-of-Succotash John Anealio. You can get the whole album for whatever price you name at http://JohnAnealio.com. The Clips Midweek DriveA few episodes ago we got our weekly shout out from The Chillpak Hollywood Hour from a guest of theirs: Alex Lewczuk, who’s the host of The Midweek Drive radio show and podcast in Britain (where he's joined by regulars John Jarrold, Holly Cox, and Gabriella Peralta.) I vowed then to feature a cut from his show and I finally got one that’s MOSTLY understandable to the American ear and which should be imminently familiar to a British audience. In this clip, Alex’s guest was English comedian Stu Francis. It seems the show, in trying to research Stu, had actually gotten to the website of STEWART Francis, a Canadian comic. Then they get into a discussion about Stu’s catchphrases, which are apparently his hallmark. ManBuyCow PodcastThis show was recommended to us via Twitter. I think it was Davian Dent from the Bitter Sound Podcast, actually. In realtime, on Twitter, I asked our Associate Producer Tyson Saner to go grab a clip which he did. But I ended up listening to the whole episode and I gotta tell you that, if you’re taste in comedy runs in the Monty Python/Hitchhikers Guide To The Galaxy vein, this show has got to be on your Subscribe list. ManBuyCow is from England and features two guys – Rufus & Howard. Last names undiscoverable so far. In this clip, the guys are mucking about with a clairvoyant tea kettle. Newbs RadioThis segment comes directly from Newbs Radio and it is not a comedy podcast, really. But the host, Eric Newby, is a supporter of Succotash and I told him I can pull some strings and get a clip of his show on the episode. He has a lot of musicians on and he sent in this clip from last summer, with his guest – singer Jonathan Richmond – because he felt it “explains what we do for your listeners”. Proudly ResentsI interviewed the host of the Proudly Resents podcast, Adam Spiegelman, during the LA Podcast Festival a few months ago. He’s been back in New York THIS month for the New York Podcast Festival. He did a live Tribute to Troma Films which I reviewed in last week’s This Week In Comedy Podcasts for http://Splitsider.com. And then he interviewed the co-founder of Troma, Lloyd Kaufman, who’s a genius of the ultra-low budget film. In this clip, he reveals how they can afford to keep flipping and exploding cars in Troma films, as well as how to crush a head on screen The John Dredge Nothing To Do With Anything ShowThe same day I got word about the ManBuyCow podcast (see above), @Good_Podcasts on Twitter suggested we give a listen to The John Dredge Nothing To Do With Anything Show. I was game. @GoodPodcasts never steers us wrong and John Dredge himself has retweeted some of our tweets. So Tysonpulled down a clip from a recent episode and – Ahhhhhh – pure audio hilarious weirdness ensued. Starring John Dredge, Anna Emerson from the Boom Jennies, Greg Haiste from Haiste & Lawrence – and sounding a lot like Greg Proops putting on a British accent – along with James Shakestaff. Needless to say, that’s up on my Subscribe list now, too. The URL is too long for me to read and not screw up so you can click on it at this episode’s blog at http://SuccotashShow.com or just type “John Dredge Show” into Google. You’re find it. That what Epi80 has in store for you. We appreciate it when you take time out of your busy day to not just listen to the podcast, but especially when you go up to iTunes where you can rate and review us. You can also Like our Facebook page (where you can even stream episodes of Succotash while you're catching up on your friends' status updates!) Okay, that's it for now. Please pass the Succotash! — Marc Hershon

Convicted Cinephiles starts up their first recording of 2014 with a bang as they welcome LLOYD KAUFMAN, the man behind Troma Films joins us to celebrate 40 years of Troma film magic. Stevil, Matty (but you can call him Walter) and DemiGodRob chat with Lloyd about Return to Nuke 'Em High, the state of independant film and Cannes controversy. Join us for this momentus occaision, Toxie demands it!

It's that time of year again, as Gabe and Josh go back into the Studio Ghibli coffers to take a look at one of their Disney-distributed animated movies. This time, they tackle one of the most beloved films from director Hayao Miyazaki, My Neighbor Totoro, celebrating its 25th anniversary this year. To join them in discussing this story of the imaginative spirit of childhood, Gabe and Josh brought back self-described "super-hipster" Zack Handlen of The AV Club. They discuss the difference between the film's English and Japanese-language dubs, the film's very unique connection to Troma Films (yes, really), and there's maybe a bit of singing in between. So grab your Totoro doll, hop on the catbus, and get ready for a wild ride of a show!

Walter J. Lyng, who you might know from that OTHER podcast joins us to talk about two standout films coming from deep in the "B" category of cinema. 1989's terribad action blockbuster Samurai Cop and the latest offering from Troma Films (and the fourth film in the Nuke Em High series) Return to Nuke Em High. The post 9to5 Goes to Fantasia 9: Samurai Cop and Return to Nuke Em High Vol 1 appeared first on 9to5 (dot cc).

This week the gang brings you on a mini audio tour of Troma Films in NYC.  We speak with Aaron Hamel and Lloyd Kaufman at the the longest running Indie film distributor in the U.S. Also we talk about Stanley Kubrick films and the upcoming "Room 237" doc about the hidden meaning in the film The Shinning. Also we talk about Flight and other flicks. Listen to New York Cine Radio today and receive a free mind boner! VULTRA ENTERTAINMENT ROOM 237 TRAILER

Lew Temple amazed us with not only the great stores of his adventures in acting in such movies as Devil's Rejects, Texas Chainsaw Massacre: The Beginning, Unstoppable, Halloween and Waitress, but also his bravery against Leukemia... and J LaRose told us all about the Traps of SAW as well as REPO: The Genetic Opera - IF WE'VE BLOWN OUR BANDWIDTH HERE..it's in the Audio Chamber at www.nightwatchradio.com - grab it now! You just never know what to expect and Nightwatch delivers!! The radio show for Things That Go Bump In The Night - and the Largest independent Paranormal Radio show in the world! Broadcast in 14 countries including affiliates in Europe, Australia, Japan, China and Canada! Join host Todd Sheets each week LIVE Tuesday Nights 9 PM Central with replays at 6 PM Central on Wed and 10:30 PM Central Sunday nights here at Jackalope 105. You just NEVER know what you'll find on NIGHTWATCH! Some of the guests include: Jason and Grant from TAPS (Sci-Fi's Ghost Hunters), Elvira - Mistress Of The Dark, Sid Haig (House of 1000 Corpses), Don "The Dragon" Wilson, Psychic Dr. Louis Turi, Paul Dini (Batman, Justice League), Pat Priest (Marilyn Munster), Wally Wingert, Jeremy Bulloch (Boba Fett), Cynthia Rothrock, Peter Mayhew (Chewbacca), Operation Repo, HG Lewis, Sage Stallone, Dave Prowse (Darth Vader), John Zaffis, Dean Haglund from The X-Files, Reggie Bannister from Phantasm movies, Kelli Maroney (Chopping Mall, Night of The Comet), Tony Moran from Halloween, Mike Kim (Daily Show), Tim Sullivan (2001 Maniacs), Bill Ramey - Batman On Film, Outback Zack, Dr. Ronald Mallet, 42nd Street Pete - Grindhouse Historian, many Paranormal groups from around the world, Lloyd Kaufman from Troma Films and many, many more!

The main man - Michael Uslan - if you missed him last night on Nightwatch, check it out NOW, and be prepared to be blown away.... simply an amazing interview from one of the great men in the genre!!! You just never know what to expect and Nightwatch delivers!! The radio show for Things That Go Bump In The Night - and the Largest independent Paranormal Radio show in the world! Broadcast in 14 countries including affiliates in Europe, Australia, Japan, China and Canada! Join host Todd Sheets each week LIVE Tuesday Nights 9 PM Central with replays at 6 PM Central on Wed and 10:30 PM Central Sunday nights here at Jackalope 105. You just NEVER know what you'll find on NIGHTWATCH! Some of the guests include: Jason and Grant from TAPS (Sci-Fi's Ghost Hunters), Elvira - Mistress Of The Dark, Sid Haig (House of 1000 Corpses), Don "The Dragon" Wilson, Psychic Dr. Louis Turi, Paul Dini (Batman, Justice League), Pat Priest (Marilyn Munster), Wally Wingert, Jeremy Bulloch (Boba Fett), Cynthia Rothrock, Peter Mayhew (Chewbacca), Operation Repo, HG Lewis, Sage Stallone, Dave Prowse (Darth Vader), John Zaffis, Dean Haglund from The X-Files, Reggie Bannister from Phantasm movies, Kelli Maroney (Chopping Mall, Night of The Comet), Tony Moran from Halloween, Mike Kim (Daily Show), Tim Sullivan (2001 Maniacs), Bill Ramey - Batman On Film, Outback Zack, Dr. Ronald Mallet, 42nd Street Pete - Grindhouse Historian, many Paranormal groups from around the world, Lloyd Kaufman from Troma Films and many, many more!

Sybil Danning taught us that Werewolf Queen Horror Movie Stars kick ass and we also learned about Quantum Physics!!! You just never know what to expect and Nightwatch delivers!! The radio show for Things That Go Bump In The Night - and the Largest independent Paranormal Radio show in the world! Broadcast in 14 countries including affiliates in Europe, Australia, Japan, China and Canada! Join host Todd Sheets each week LIVE Tuesday Nights 9 PM Central with replays at 6 PM Central on Wed and 10:30 PM Central Sunday nights here at Jackalope 105. You just NEVER know what you'll find on NIGHTWATCH! Some of the guests include: Jason and Grant from TAPS (Sci-Fi's Ghost Hunters), Elvira - Mistress Of The Dark, Sid Haig (House of 1000 Corpses), Don "The Dragon" Wilson, Psychic Dr. Louis Turi, Paul Dini (Batman, Justice League), Pat Priest (Marilyn Munster), Wally Wingert, Jeremy Bulloch (Boba Fett), Cynthia Rothrock, Peter Mayhew (Chewbacca), Operation Repo, HG Lewis, Sage Stallone, Dave Prowse (Darth Vader), John Zaffis, Dean Haglund from The X-Files, Reggie Bannister from Phantasm movies, Kelli Maroney (Chopping Mall, Night of The Comet), Tony Moran from Halloween, Mike Kim (Daily Show), Tim Sullivan (2001 Maniacs), Bill Ramey - Batman On Film, Outback Zack, Dr. Ronald Mallet, 42nd Street Pete - Grindhouse Historian, many Paranormal groups from around the world, Lloyd Kaufman from Troma Films and many, many more!

You just never know what to expect and Nightwatch delivers!! The radio show for Things That Go Bump In The Night - and the Largest independent Paranormal Radio show in the world! Broadcast in 14 countries including affiliates in Europe, Australia, Japan, China and Canada! Join host Todd Sheets each week LIVE Tuesday Nights 9 PM Central with replays at 6 PM Central on Wed and 10:30 PM Central Sunday nights here at Jackalope 105. You just NEVER know what you'll find on NIGHTWATCH! Some of the guests include: Jason and Grant from TAPS (Sci-Fi's Ghost Hunters), Elvira - Mistress Of The Dark, Sid Haig (House of 1000 Corpses), Don "The Dragon" Wilson, Psychic Dr. Louis Turi, Paul Dini (Batman, Justice League), Pat Priest (Marilyn Munster), Wally Wingert, Jeremy Bulloch (Boba Fett), Cynthia Rothrock, Peter Mayhew (Chewbacca), Operation Repo, HG Lewis, Sage Stallone, Dave Prowse (Darth Vader), John Zaffis, Dean Haglund from The X-Files, Reggie Bannister from Phantasm movies, Kelli Maroney (Chopping Mall, Night of The Comet), Tony Moran from Halloween, Mike Kim (Daily Show), Tim Sullivan (2001 Maniacs), Bill Ramey - Batman On Film, Outback Zack, Dr. Ronald Mallet, 42nd Street Pete - Grindhouse Historian, many Paranormal groups from around the world, Lloyd Kaufman from Troma Films and many, many more!